Triem 23's "Hey, I'm Working on THIS!" page (Update: Eagle Transporter Flyby Test Jan 31, 2018)

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  • edited April 2014
    rtrowbridge, I'm looking at you right now. ;-)


    Stop looking at me!!!
    Seriously, I love how this effect looks and plan on following your instructions to try to duplicate it when I have time.
    Here is a very quick and dirty attempt at torpedoes and phasers I did a couple of years ago for starship battle I did.
    http://youtu.be/TycmangD4uQH 
    I had four weeks to render and edit a five minute CGI short to show at a local convention. The phaser effect is a particle stream (different colors for the Romulan weapon). The torpedoes were a simple light flare. The shield hits are actually a highly modified muzzle flash.

    Here is a link to the whole video...
    http://youtu.be/z9MA9eZBjQo


  • Is PI still just 2D, or did they go 3D in the end?
  • Triem23Triem23 Moderator
    Didn't Particle Illusion basically get turned into Particle Playground for AE? I have a buddy who does compositing for the show "Robot Chicken" and I used to kid him about using Particle Illusion on that show. He said it was all AE, but, one day over lunch we stepped through a lot of the Particle Illusion presets and they matched his AE presets exactly...
  • Triem23Triem23 Moderator
    edited April 2014
    Stop looking at me!!!
    Seriously, I love how this effect looks and plan on following your instructions to try to duplicate it when I have time.


    Or, you can use this link https://www.dropbox.com/s/omva1enbrtks9jj/Just%20the%20Photons.hfp  To download a Hitfilm Project containing just the photon and shield elements of the animation to dissect and modify. :-)
    Also note how I have the camera setup--I talked about this somewhere in this thread, but I have multiple point set up to rig a single camera. CG cameras animate around the cam's nodal point. The rig I have is a virtual tripod head--The pan and tilt points are set a little behind and below the actual camera to get the offset you'd get on a real camera rig. Plus, using different points to control pan and tilt means I can work around Hitfilm's default X,Y,Z order for resolving rotation. The multiple points means, if I tilt the camera up, then pan it, it behaves more like a real mount.
    I've watched the entirety of "Fleet Action." before. It's fun short and it looks really sweet! (Although, really? A 20th Century Fox parody logo for a Trek short? A strike team from Paramount has been dispatched. ;-) )
    @SimonJones: If you've never seen "Star Wreck: In the Pirkinning," then you should look it up. A feature-length fan-film from Finland, many of the dialog jokes don't play well in the english subtitles (I bet it's a lot funnier in Finnish), but, holy hell, to the "Federation vs. Earth Alliance" battles look fantastic! THis movie pretty much covers any "Star Trek vs. Babylon 5 battle" wet dreams an animator could have. This movie should be viewed by any indy film-maker with sci-fi aspirations, since it shows what you could do with minimal resources and doing all your effects on consumer laptops--TEN YEARS AGO! Technically, this film is impressive as hell!
    There's a download-only (legal version), and an "Imperial Edition" on DVD (which I own). I think it's been remastered in HD for download on Amazon as well.
    Here's a terrible looking copy of it's trailer:
    https://www.youtube.com/watch?v=fCWRoGBKTcs


  • Thank you for sharing the project. I can't wait to take a closer look at it. My "21st Century Ross" logo goes back to before I was doing Trek stuff, and has just come along for the ride since then. Maybe I need to fly some stars around Mt. Logan or the Wellsville Cone. Or maybe even the "Sleeping Ute" outside Cortez, Colorado. That one would work well.
    Sleeping_Ute.jpg
  • edited April 2014
    Thank you for sharing the project. I can't wait to take a closer look at it. My "21st Century Ross" logo goes back to before I was doing Trek stuff, and has just come along for the ride since then. Maybe I need to fly some stars around Mt. Logan or the Wellsville Cone. Or maybe even the "Sleeping Ute" outside Cortez, Colorado. That one would work well.
    Sleeping_Ute.jpg

     


    Confuse everyone by putting a woman holding a torch on top of the mountain and add a lion roaring followed by "Bad Robot". ;) 
    T23- I can die now. B5 & Trek. I've seen it all.
    And to your question, albeit rhtorical, I think that's all I did for the ionic torpedos. I'll dig out the file and double check to see if I put in a tiny LED lens flare but I don't think I did. Thought about it.
    Darn it- I'm out of likes for the day already?!?!?!?!
    Sit Ubu, sit.
  • All this over my silly logo,.. But you didn't even mention the MarlaFilm logo right after that. Can we throw in a TriStar Pegasus with your idea? Or at least throw some wings on the lion? I always liked that one.
    Star Wreck was great. The original version was better where their models matched the B5 and ST ships. But they were too good and had to rerender all their effects with modified designs to keep the copyright holders happy.
     


    Confuse everyone by putting a woman holding a torch on top of the mountain and add a lion roaring followed by "Bad Robot". ;) 
     

  • Triem23Triem23 Moderator
    edited April 2014
    Well, I figure with ILM doing the Trek effects for Paramount for several movies a "MarlaFilm" logo was justified--that's my story and I stick to it.
    I did my own "Fox" parody logo years ago in Bryce of all things. Maybe I'll upload just the introduction scene for that video.... Was for one of our Halloween recaps--that particular year Google Maps and Earth's location pictures for our site had our maze enclosure (since then Google has updated the images), so we were joking that we were visible...FROM SPACE! Anyway, that led to a whole Star Wars intro/outro (at the end of the video, the maze is destroyed by the Death Star--along with Earth.)
    Yeah, if you find how I built the photons useful, or see a way to improve them, then, enjoy and thanks! That shot is now just about ready for the "Depth-Fog Z-Pass(es)" that are the entire technical point of this animation!
    I agree there's a charm in the original Star Wreck edit with the ships looking "show-perfect," but most of the copies online are old enough to be 320x240, so, at least with the "Imperial Edition" I get full, glorious SD!
    @Stormy--today is the day I found out there was a "like cap" in this forum. I was being excited about the new plug-in format. But, "good dog."
  • Triem23Triem23 Moderator
    edited April 2014
    Here's a little test I did based on the techniques being discussed in this thread:
    http://community.hitfilm.com/index.php?/topic/5064-making-water/page-1
    https://www.youtube.com/watch?v=Jl8RepO8_yU
  • edited April 2014
    That wasn't real footage?!?!?! I must be gullible. Was that Hitchcock?
    Looks great! I like the way the flare and sun get obscured by the larger waves.
    I think the only thing I would try- though not guaranteed to work- would add a
    reflection effect but I don't know if it would look right or interact with with moving water
    unless the effects can be combined somehow- or maybe take a frame from the sun & clouds
    composite and flip it upside down and include it with the water?

    :)) to the "Good dog"!
  • Triem23Triem23 Moderator
    There is a reflection, actually, but this wasn't the best picture to use... The picture has a high horizon, and I had to move, crop and scale it, which means most of the reflection is missing. If I had a proper environment wrap I would get accurate reflections, I think. Check out pages two and three of the thread I linked.
  • There is a reflection, actually, but this wasn't the best picture to use... The picture has a high horizon, and I had to move, crop and scale it, which means most of the reflection is missing. If I had a proper environment wrap I would get accurate reflections, I think. Check out pages two and three of the thread I linked.


    Yeah- I read this thread before I read the other one.
    And don't forget the kitty with Bob Newhart saying "Meow".

  • Triem23Triem23 Moderator
    edited April 2014
    Annnnd, back to the Trek thing:
    http://youtu.be/V1E3Ubk5csE
    Not even close to done--Orange Pekoe gave me some notes on clouds, and I am pretty happy with this just a few minor tweaks. After that, well... physics time.
    D'oh! I think I just realized I should have built certain clouds from mobile emitters to "shatter" clouds when the deflectors come thru... HA!
    Then adjusting lighting, shields, Damage, etc. I think the Klingon needs to break left to take him into brighter cloud. This might even let Phoenix use her lateral phasers, just to add additional interest to the staging.
    I also have to decide if the Klingon hit the station, and how much damage was inflicted if he did....I think the most dynamic way is to have the first Klingon torpedo hitting Regula just as the camera swings around, followd by two and three with some spread--help sell the scale, because the Klingon is only 1/5 of the way between camera and Regula....
    Note: My first attempt with clouds wanted a 10 hour render time. OP got me thinking along lines that greatly reduced my particles and got the render time down to 15 minutes! And I haven't "optimized" this project yet--trimming dead/unneeded layers, etc.
    @Stormy: I'll settle for the MTM cat. ;-)
  • Looking pretty awesome so far.
  • Triem23Triem23 Moderator
    And, more water:
    Two in one night... Oh, this is why it's 8am and I haven't gone to bed...
    http://youtu.be/yfdaGLXbb8I
  • Triem23Triem23 Moderator
    AAAnd Version 5. Basically, I changed the Klingon's flight path, and realized that meant I had to change the Photons.... (Particle sim, right?) And reposition the deflector... And it took awhile to fine tun the photons to where some hit, and some missed, and some of the misses went past the camera at a cool angle... Oops, Klingon passes higher over the camera now.... Do I like it? Yes--It was exiting left before, now it exits facing right, foreshadowing it's turn. OK, that means I have to update all the z-pass composites....and retime animated lights... AAAH!...
    Tried placeholder explosions on the station, but I THINK I may actually extend the life of the Klingon torpedos and see if she hit!---Let the physics of the particle sim determine.... Nebula--no targeting sensors, right? Fed Cruiser right on top of you, Klingon takes his shot and turns to engage... My 3D model lacks an aft torpedo bay... She's got to get the Federation in her forward arc.
    As it is, the Klingon has prototype shields, partially functional, or she'd be toast already. Can't cloak in a nebula, so these shields are why this ship is on this run.They may see her coming, but she can survive more hits.
    Regula 9 is a research laboratory in a dense pocket of the Orion Nebula--it's purpose: Advanced sensor arrays that function in this type of environment. While sensor locks and other issue haven't been solves yet, they have solved the issue of long distance hyperwave communication from within the nebula. This technology is for science vessels, but the Klingons always jump to military conclusions.
    Having obtained advanced knowledge of the Klingon's shield technology, USS Phoenix has been drifting silent near the shortest path from the nebula's edge to Regula for a month. Her sensors are looking for the turbulence 
    wake of an incoming warship. The gamble works, and the D7 makes it's attack run along a near perfect vector for a surprise ambush.
    http://youtu.be/VDX6T8MajVg
    This is not "unmotivated Orange SPACE SMOKE," Mr. Simon Jones. ;-)
  • This just keeps getting better and better!
  • AAAnd Version 5. Basically, I changed the Klingon's flight path, and realized that meant I had to change the Photons.... (Particle sim, right?) And reposition the deflector... And it took awhile to fine tun the photons to where some hit, and some missed, and some of the misses went past the camera at a cool angle... Oops, Klingon passes higher over the camera now.... Do I like it? Yes--It was exiting left before, now it exits facing right, foreshadowing it's turn. OK, that means I have to update all the z-pass composites....and retime animated lights... AAAH!...
     


    The straight on shot at the beginning feels a bit strange I'm not sure what it is at the moment though.  However, from 18s onwards.... it's great!  The shield reactions look amazing - once the Cruiser passes at around 27s I love the look of your Nebula!  The star or "light" from around 27s onwards looks great in that environment. 
    Are you using an environment map on your models? 
    The research lab - how far away is that in 3D space from the ship models?  The lab feels a bit too crisp and clear compared to your ships.
    Otherwise, this is looking fantastic Triem!

  • Triem23Triem23 Moderator
    Thanks, guys! This was supposed to be a simple z-pass test that got ambitious.
    I think with the straight-on shot there are three things going on that are a bit funky--first, the models are far away, so there's no focal point until the Klingon fires--the first few seconds are just kinda dead. Second, the angle of the Klingon's off--she's slewing sideways. Third, the Z-pass is properly occluding clouds, but the clouds are in add mode. I need to do a "dark" pass so the ships drop to shadowed silhouettes in the distance.
    No environment map yet. I am going to build the other 180 degrees of nebula, then render angles to to build a near-proper wrap.
    Regula is 20,000 units from camera. At the end of the shot the Klingon is only about 3,000 units away. Both cruisers are about 500 units long. Regula is much larger. There is no blur on any model yet, so they're all quite crisp.
    I also need to kill my current lens flare grade. Instead, I am going to drop my useful "white sphere" model where I want all my flares and use Auto Flares...
    Oh, I also need to start my physics layers. I want more cloud where both ships fly using techniques outlined by mark_e in his fog tests to get turbulent cloud flow around both ships.
  • Triem23Triem23 Moderator
    One:
    https://www.youtube.com/watch?v=7_fTVQk4gbk
    Interactive water is a pain.
    Two:
    https://www.youtube.com/watch?v=mDbSt4LkBwM
    It took away from this.
  • Triem23Triem23 Moderator
    Updated Triple buoy, attempting to re-keyframe the plane and bobbing buoy at the end so it doesn't suck.
    http://youtu.be/3fm4BBhFbO8
    After playing with this, I am gonna agree with Win (From this discussion: http://community.hitfilm.com/index.php?/topic/5064-making-water/page-6 )--If you want water interactions for something simple, like a single 3D object and a wake, then it's not too difficult. Major interactions just require manual keyframing. Plus--well, this is a 3000x3000 water plane in a 1280x720 comp. My machine will let me make a 4096x4096 plane, but, putting that into 3D space and adding models--you have to scale your models down pretty small...
    In fact, the plane model in this animation impacts the "water" about 5000px from the camera--farther back than the edge of the water plane. I'm using a quick Depth-fog matte to slice the bottom of the the plane, and the same matte layer to drive a displacement on the plane, but, basically getting it to look like it's at the center of the second set of ripples was a cheat, and a use of forced perspective.
    Anyway, if you don't have other software tools, and have a fast enough machine where the water plane doesn't slow your refresh down to a crawl, and you have the time on your hands and artistic inclination for manual keyframes (Man, I miss my teen years/early 20's.), you can probably get something spectacular.
  • Triem23Triem23 Moderator
    And, as long as I did and Andrew Kramer-ish star, a little homage to "The Naked Now."
    http://youtu.be/JDCZMS8fgoQ
  • Triem23Triem23 Moderator
    edited May 2014
    If i can make a suggestion on the Star Trek stuff (Probably way off the mark though) and keep in mind that i have not too much in space battles yet, but one thing that is really jumping out at me is that the background is really busy and colorful.
    If that where a constellation or such then it would not really move with camera movements as such (This is giving me the impression that it is close to the camera)
    I am more of a Star Wars starfield person, lots of black, couple white dots lol
    Like i said this may be way off the mark because even though it used to annoy the crap out of me, Voyager actually flew under a coronal mass ejection on the intro to Voyager the TV show hahaha, so may be it is just a Star trek thing.


    It's a "Trek" thing. There was the earlier version with the Star Destroyer that I scrapped for the Trek one, because, as noted, Star Wars isn't big on nebulae or dust clouds. Think the Mutara Nebula battle in Star Trek II (Or the much inferior final battle in Star Trek: Nemesis) The cloud elements look close to the camera because many of them are--this battle in inside a nebula.
    I am still tweaking the look of that nebula--then I want to refine the  depth passes and add a "turbulence wake" to really get the feel of these ships plowing through a gas cloud, navigational deflectors clearing a path. If you've seen Mark_e's "Fog Test 2," I'm going for something a bit like that for the turbulence wake.
    For space shots, I'm a Babylon 5 person. I loved all the use of hubble photos and colorful their space scenes were. And, for storytelling, it certainly made "establishing shots" in space easier to get--Grid Epsilon has the blue nebulae, Za'ha dum had the orange/yellow clouds, Minbar had the purple, Narn has a brown cloud, and so forth.
    Anyway, I think, what will help this sequence is if I change some of the closer-to-camera layers from ADD blend particles to NORMAL blend particles--so the distant gas and dust is scattering light and glowing, but the closer dust--deeper in the nebula, is acting to occlude light. Then the depth maps of the ships emerging from the dust clouds as they get closer to the camera will play better. The ADD mode particles are brightening my ships with distance instead of obscuring them, so it's not reading right yet.
    The next thing I need to do is create an environment wrap to have some background nebula that isn't parallaxing to cement the far structure of the nebula, millions of miles away.
    This was supposed to be a quick depth mask demo--it's become something bigger. as noted in a long post above, there's a whole damn story behind the one shot.


  • SimonKJonesSimonKJones Moderator
    edited May 2014
    I like the star core in that shot, but the emissions are going WAY too fast. The glow halo also seems a bit too uniform - it looks like a feathered circle rather than a glow connected to the start itself. Equally, the emissions still look like an animated noise pattern rather than individual plumes. The ship could probably do with some light wrap, too.
    Something I've been playing around with is using the fire effect to create the emissions.
  • Triem23Triem23 Moderator
    Corona is absolutely way too fast--that was buried in my long rant above.
    I tried an experiment with fire, but wasn't happy. But what Hitfilm effect is good for making animated wisps of tendrils of energy...?
    That's right, I'm thinking Atomic Particles after the fractal noise.
    There is a light wrap on the ship, but source layer is set to None, which I thought would use the comp as a whole... Should I duplicate the star layers to create and embedded version as a wrap source?
    Finally, I think I am going to add color into my original fractal noise layers, rather than creating the entire thing in greyscale and tinting with grade layers. See what happens.
  • SimonKJonesSimonKJones Moderator
    edited May 2014
    Yeah, none will do.....nothing. Sly, eh?
    Rather than a duplicate embed, you might be able to put a sneaky grade layer between the ship and everything else, and link the light wrap to the grade layer,. Make sure you set the light wrap blend to Lighten, too, because it's Just Better.
    Atomic could be pretty awesome.
    ALSO, here's a thing: Apply a polar warp to your fractal noise. This'll wrap it into a circle. If your noise is moving 'up' the screen, it'll then be moving 'outwards' after the warp. A few duplicates of that could be easier than positioning loads of separate comps as in Kramer's tute. A few duplicates of the polar warped noise creates a pretty nice result.
  • Triem23Triem23 Moderator
    edited May 2014
    Ah HAH! there IS a grade layer between the ship and everything else! That's the Levels Histogram doing the tint (I will personally, from across the pond, somehow send coffee to everyone at FXhome if I have to make a transatlantic call and order it from cafe down the road for some proper color curves, please and thank you).
    There are three lights. One at center of sphere (of course) at 100%, one above, because some top highlights just look better, at 50%, one below and behind camera at 35%, colors sampled respectively from hot, medium, cool parts of the star.
    Oh, to clarify: Hitfilm literally treats a Grade layer as a flat-rendered copy of all layers below, and not as a "null" layer filtering effects through? That's important behavior to know, and certainly opens up some shotcuts. Thanks for the tip! That's a good one to know. Mention it in your next tutorial! :-)
    *FACEPALM* Polar Warp, of course! Gah, after using it for other things, to forget about that! Is that why the corona on your test looks so good? Wait--we should be having this discussion on the star thread.
  • SimonKJonesSimonKJones Moderator
    You mean the test I literally just uploaded and hadn't even posted about yet?
    This one:

    http://youtu.be/gcY9sAsg2WE
    There's a bit too much visible repetition and I only did a single layer of fractal, but as a proof of concept I think it works.
  • Triem23Triem23 Moderator
    Yes, I meant that one. By a staggering coincidence, I had just logged into youtube right after you uploaded it. *shrugs* Google data mining thought I would appreciate it.
  • You will be incredibly popular if you manage to send the FXHOME team coffee :)

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