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Week 6

Andrea did a really good job updating the texture a lot last week, and the rest of us rendered and integrated the bike into every shot. Here are the suggestions we got from mentors this week

  • For Shot 1 A, the background needs clean up, and the composition should be adjusted

  • For Shot 4, tracking is slipping in the end, the material is a little off, and the light need to be updated

  • For the model of the bike, the handle is too big

  • Need to decide the hero shot between shot 2 and shot 3

Multi-pass Render

I worked with Avery and Storm, who rendered the footage for me, so it is necessary to unify the render passes. They will render from Redshift in Houdini. I searched for some recommended passes set. Here is a useful resource link 

Redshift passes set I chose for our workflow

Beauty passes: diffuse, GI, specular, reflection. optional for (refraction, SSS, render if there is info in it)
Utilities passes: z Depth, Motion Vector, Shadow

Shot4 - further stabilizing & integration

I stabilized the footage twice in Nuke, but I still didn't like the tilt in the end part. Therefore, I decided to replace the 50 frames at the end with a zoom out motion.

1. using a switch node to connect the original footage and the still image in zoom out motion

2. keying out the swaying shadow and project it onto the zoom out part

3. re-track the camera and export it to 3D

Andrea gave me two versions of the bike render so we can achieve the light transition effect like VanMoof, which needs to add the god ray effect in compositing.


Then I combined those two by keyframing a merge node

Shot1A - reframe & integration

To get a better composition, I cropped the footage and re-tracked it.




Shot1B - creating 3d scene in Nuke & focus shifting

I tracked the CG footage to get a new camera, and created a 3D scene for this shot so I could make the background move with the CG footage.

Shot2 - background projection

Our previous plan was to scan the real scene and made it as a model. Then render the background in 3D software, and some matte painting work may needed. However, the scanning effect was worse than we expected because there were some glass windows at the shooting place.

Finally, we decided to make the background all matte painting stuff.

​My thought about the working process is, keying out the person first, then composite into a still picture.

Integrated the bike

Shot3 - motion blur & depth
Rough Color Grading

I adjusted color in Davinci to make each shot looks more unified.



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