Our theme ranged from everyday objects to fantasy objects, so the group chose a commonplace object, a coin, and began to make up a whimsical story about it. We decided to give it a few different layers of meaning and then a fantastical story.
Rights：Coin with the king’s head on it Greed：Fight for treasure Hope：Throw coins into the wishing well
At the same time, I went to understand the effect of some bleneder three renderings, to find some reference, also used ai drawing the effect.
I chose the theme from everyday objects to fantasy objects.
I like this subject for two reasons. First of all, I like fantasy themes very much. I have watched a lot of fantasy movies and studied ordinary objects personification in Pixar animation. I like to observe the things around me and make them look like things in fairy tales with my rich imagination. Secondly, in terms of my skills and specialties, I am good at design and modeling of various styles, which can realize objects from plane to finished products. I believe my skills are well suited to this topic.
Then, through the joint activities organized by the school between various majors, I met a lot of friends from other majors and decided to work with 2D animation students to do an animation project combining 2D and 3D. I think the benefits are, first of all, for 3d, once it comes to character animation will greatly increase the workload, whether it is modeling to binding or to k-frames, so 2d drawing characters is undoubtedly a good choice, but also better reflect the animation effect, more tension. Secondly, for 2d, the most difficult point is the overall perspective and the huge workload of painting the background. Therefore, 3d scenes and 2d characters combined is a good choice.
1) Title: Traveling with coins
2) Team members and roles:
Chenyang Deng MA Animation c.deng0320221@arts.ac.uk Role: 2D animator
Yuanjie Lei
MA Animation y.lei0320221@arts.ac.uk Role: 2D animator
Tianqi Xu MA Visual Effects t.xu0320223@arts.ac.uk Role: 3D scene modeler
Jiachen Ding MA Visual Effects j.ding0320223@arts.ac.uk Role: Compositor
3)Description of idea: We plan to use the everyday object of the coin as a medium to connect the real and the fantastical, to show the meaning and influence that humans give to the coin (money) in different fantastical worlds. The project will use 2D animation to draw the characters and parts of the screen. At the same time, using 3D models for the scenes and a virtual camera to complete the subplots.
First, I made the blob wobble animation, and I tried for a long time to match the holes of the roller, using different rotational speeds to achieve the effect.Then, I put the roller and the ball into the sp to apply the material, because I wanted a more realistic material effect.Finally, I added the plant model, because I wanted it to have a little light and shadow effect to make the picture richer.
I had a problem with a carpet that I wanted to make more realistic. If it was a flat surface and then used mapping to achieve it, it would look too fake, so I wanted to generate a base model. So I watched a youtube tutorial.
I encountered two problems with the green screen keying, the first is the keylight after the machine side will also show a little green, so I used a roto to fix, adjusted to alpha, so that it restores the original color of the machine. The second is the above recording rod through the problem, I also want to use roto to solve it, but roto after that part became a black background, so I tried to adjust the parameters of roto. You can see the two bezier curve in the color side of the mode is different.
In this lesson we learned about aov layered rendering compositing.
This layering is the layering of objects, such as dividing a scene into independent layers, such as the character into a layer, the background into a layer, so that when rendering people the background is not rendered, the camera does not move, then sometimes you can only render a frame of the background, saving rendering time, aov layering is the channel layering, such as an object channel into a light layer color layer reflective layer diffuse reflection layer, and so on, and then use nuke compositing, multi-channel compositing is also called depth compositing. Z channel is generally used to do the scene of the air fog and depth of field. Ao, meaning environmental masking, is used to superimpose the shadows generated by the object and object contact, increasing the sense of volume. Coat, varnish layer, is the second layer of material highlights, generally like celadon, such a glazed material will have this, and car paint also have. diffuse, this is a color layer with light information, without any material other than color in it. direct, this is the direct light layer, is based on the scene inside the light, calculate the effect of direct irradiation out, did not calculate the effect of photon bounce produced. emission, this is the direct translation of the meaning, self-luminous, this channel will be the scene on the self-luminous parameters of the material extracted. Easy to adjust the content related to self-illumination later. indirect, with the above description of direct, this channel is Arnold calculated according to the light of the photon bounce effect, that is, indirect lighting, like a sunlight, shining into the house, the house is not illuminated in places will also light, which is the photon bounce and indirect lighting. motionvecto, because the scene is not animated, so use a small ball with animation to do the case. motionvector, motion vector, used to do the motion blur effect later. opacity, this is the transparency channel, there are transparent properties will be raised to facilitate the control of transparent materials. specular, highlight layer, used to adjust the intensity of the highlights of the Aov layer later. sss, when an object has a subsurface, epidermal material, this channel can be convenient to adjust the size of the SSS later. Transmission, the refraction layer, similar to water, glass and other such materials with refraction properties, this channel is convenient to adjust the size of refraction and other properties. Finally, when outputting Aov, we choose the material content according to the file, for example: there is no glass in the scene with refraction material, then transmission is not output. And so on, choose what you or the downstream department needs most, so that you can reduce the rendering time and improve efficiency.
In this class, we also learned about relight, the basic principle of which is to first model the real scene to create a digital scene. Then we take points in different parts of the real scene, and each point takes an omnidirectional cubemap, through which we can derive the lighting response of each point in the scene and apply it to the digital scene. Finally, you can move the light source randomly and get a rendering that looks fine. In my understanding, this is more like a 2.5d technique. Here are the four methods of relight.
