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

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  • SimonKJonesSimonKJones Moderator
    And cake. Don't forget cake.
  • Triem23Triem23 Moderator
    Coffee for Color Curves, Cake for targeting a camera target to a point layer!
  • SimonKJonesSimonKJones Moderator
    Oh I see, it's like that, is it?
  • Triem23Triem23 Moderator
    Nah, curves are worth coffee and cake. :-)
    You must admit camera (and spotlight) targeting to points would be quite useful.
  • edited May 2014
    I've been using the ocean forum to create some interesting effects. Not sure when I'll use it, but looks pretty cool!
    MFDXZNb.png
  • Triem23Triem23 Moderator
    That does look nice. Thanks for sharing! :-)
  • Triem23Triem23 Moderator
    edited May 2014
    Updated Star Animation.
    Having issues getting the scale of my flame layers correct, but, since everything is set up in the main stack, I can just go back and mess with that later. I suppose I'll go ahead and stretch out my keyframes and slow this whole thing down since I have 30 seconds of texture sources and this is a 10 second animation.
    EDIT: The version linked here has been deleted. Basically, I used a fire sim and a polar warp to created the coronal layers. After trying that, I think fractal noise works much better.
    Go down a couple more posts. ;-)
  • Triem23Triem23 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.


    The "sneaky grade layer" worked great! Thank for that hint.
    Since an Environment map source set to "None" will, by default, attempt to use the entire existing comp, you can see why I assumed it would be the same with Light Wrap. ;-)
    Test above EDIT:(DELETED) END EDIT, I tried using the fire generator rather than fractal noise to generate my polar warps. I'm not happy with the look, but figured I'd try it to be different. Next--Atomic.
    EDIT: And a version using Fractal Noise and Polar Warps and slowed to 30 seconds....
    https://www.youtube.com/watch?v=yMenbPVh8Qw


  • SimonKJonesSimonKJones Moderator
    Interesting muzzle test. More info?
    The star is a bit day-glo still, and the glow around the edge is more like a solid white band. If you look at Axel and Kramer's versions, the halo glow is a bit more nuanced.
  • I've been using the ocean forum to create some interesting effects. Not sure when I'll use it, but looks pretty cool!


    Oh DayDreamBicycle that looks awesome :) 

  • Triem23Triem23 Moderator
    edited May 2014
    Interesting muzzle test. More info?
    The star is a bit day-glo still, and the glow around the edge is more like a solid white band. If you look at Axel and Kramer's versions, the halo glow is a bit more nuanced.


    Absolutely right about the star test. :-) Thanks for the notes. Last couple of weeks I haven't had my normal 5-10 hours of just playing with VFX time. Only getting an hour or two, so, for that one I was just playing with the coronal layers before cleaning up the last little details. Quick side note: That Fed cruiser is scaled pretty small--it's only about 5 pixels long now, compared to a 1000 pixel diameter star sphere... I didn't change it's movement points at all from the first version, but the sweeping camera move and shake makes it verry different--the original version moves like Classic Trek. The current version moves like J.J. Abrahms Trek. But, since you came up with the Polar Warp trick making it easier to ring the entire star, i wanted to show the entire star. I just need to rescale my fractal nose layers and adjust the rim glow and tone down some grade layers and it will clean up--although i don't want the super-dark look Axel and Andrew Kramer went for--I don't have that much ND on my "lens." ;-)
    The muzzle test--There's a link to this thread: http://community.hit...ilm/#entry42260 in that post. Another user was asking if it was possible to create Muzzle Flash in Hitfilm "From Scratch." For whatever personal reason, he doesn't want to use the Gunfire effect. He'd posted an after effects tutorial as an example of more the style he wanted to do, so I whipped up a quick side/by side demo for him and uploaded a project file just to demonstrate that the After Effects tutorial he was looking at did "translate" to Hitfilm.
    Silly me, the tutorial he linked builds off Fractal Noise, but he's on Express and I did mine in Ultimate--the same technique should work with generated Clouds (Which is basically a cut-down fractal noise), although with a couple extra steps.
    I grabbed footage off a Video Co-pilot tutorial, actually (#26--simulating blowback). It was 4am, and I didn't feel like shooting a "pew-pew" shot of myself. ;-)
    Just trying to help another user learn something. :-)
    Tonight's been interesting--I'm doing an opening logo for some spring concerts, and I got a brief about flowers and fields and cartoon bees, so I'm doing my first animation in Hitfilm with "puppet rigged" 2D sprites. (Well, ok, I lie--My "Halloween Hootenanny logo" used a quick 25.D puppet rig to open the door on the house facade.) I Created a blade of grass, gave it some animation and used a particle sim to create a field of waving grass which looks pretty cool.. Some simple vector shapes drawn directly in Hitfilm as BG layers, and atomic particles to get the swarm of bees to form the logo. Oddly enough it looks best if I use 3D lights to illuminate ONLY the grass field particles. Give them show shading and depth and makes the rest of the simple, gradient shaded, art really pop. sim. NOT my usual style, therefore, fun!
    Right now rendering out test elements to get design approval from the producer before doing the final animations.


  • Triem23Triem23 Moderator
    Ok, so: the brief was a cartoon field, flowers, bees and pushing in and out of flowers as transitions.
    This is not in my normal style, so this was kind of fun....
    And, of course, I score bees with for the Youtube version with... Rossini's "The Thieving Magpie." Not Rimskykorsaova's "Flight of the Bumblebee." Because that's too easy...
    http://youtu.be/4yALWavYXyg
  • Nice, that looks awesome. Is it a credit sequence? It feels like there's going to be text or something on the faces of the flowers when you fly the camera into them. 
  • Triem23Triem23 Moderator
    edited May 2014
    I combined several shorter animations. What's happening on the broadcast and Blu-ray is that we fly into the flower and dissolve (or iris) into the program video, then, at the end of each program segment, dissolve/iris back to the animation for the next animation transition.
    I did a lower third as well, but it's not in what I uploaded to YouTube. That's just a higher angled camera, tilted down to fill the lower-third area with grass and the flowers, but no sky.
    I was subcontracted into this one, so I won't be doing the actual text for the lower thirds or end credits--the editor will do that.
    I was going to do lower thirds of bees with banners going by on each flower-to-flower move, but the producer nixed that (I guess the same idea had been done for a spelling bee two weeks ago), but, since I had already built and rigged a banner amd set up my ripples, I semi-ignored producer directive and used the one banner at the top--he let me do that since I had alr
    eady built and animated the element.
    Of course, not doing bee-banner lower thirds meant I could dutch-tilt on my transitions.
    I like my cute lil' bees.
  • I like my cute lil' bees.


    I'm giving you a 'like' purely for that sentence. 


  • Triem23Triem23 Moderator

    I'm giving you a 'like' purely for that sentence. 

    I accept!
    Hey, I think that was my... 5th design attempt on the bee? And just that simple circle with wings worked out nicely.
    And the director and producer were very happy with the animation. Fortunately, I am a Hitfilm Ultimate ownwr, because there is no way I could have done that in the amount of time I had and make it look that good, with those nice camera moves and simple animations in any of my other tools. If I had used Vegas, or Premiere the whole thing would have been 5 parallax layers with a mere handful of bees hand-keyframed and simple push ins/outs with little other movement. AE or Boris FX could have done it, but they are much more fiddly to use.
    I really am very happy with how this came out, so, y'know, "thanks, Hitfilm!"
    Oh, for the record, the animation (each title/transition plus the lower thirds not in the YouTube video as separate files) needed to conform to both Blu-ray and NTSC broadcast and be Premiere-friendly. No big deal, just treat 225,225,225 as "white," which gives room to build highlights up a bit, and black is 16,16,16. Anyway, for workflow, I tossed all my composite shots on the Editor timeline, with 1-second black gaps, and exported mp4@ 150mbps (profile 5.1), imported to Vegas, did a quick curves adjustment (curves=coffee) and checked my scopes. Split my clips, selected each as a named region and used the batch export/regions tool in Ultimate S to deliver 145mbps DNxHD (8-bit) as my final. From there, the editor adds text/credits and is responsible for delivering mp4 for blu-ray and Internet, mpeg2 for DVD and WMV for broadcast encoders.
  • SimonKJonesSimonKJones Moderator
    Is the MP4 export from HitFilm sufficient quality rfor that? I'd probably have gone with an image sequence to make sure - but maybe at a high enough bitrate it's fine.
  • Triem23Triem23 Moderator
    edited May 2014
    Certainly good enough for Blu-ray (20 mbps mp4),and the San Dimas local station is SD, so the reduction in resolution should more than make up for mp4 artifacts, and, hey, 150 mbps is pretty high data rate. I think we'll be more than fine.
    I really debated image sequences, but I had a VERY tight deadline to hit, and didn't have the extra time--as it was the render time was over 10 hours.
    The field is about 25,000 particles, with 10 seconds of pre-spawn of an animated texture source, and all my bees are particles from an animated texture source, and the one atomic array is 250x250, so it's actually a pretty render-intense animation. Simon, you're the one who pointed out to me that animated particle textures offset in time really slows things down. :-)
    But, yeah, tight deadline. I was asked Tues at 9pm and needed to deliver by 1pm Thursday. Tues I did my design work, Wed, I got design approval, so that's when I went to rigging and animating, and was rendering at 130 am. Render finished at noon, so I had just enough time to do final checks in Vegas, transcode to DNxHD and copy to SD card and make it. First broadcast waa 8pm Thursday! If I had done PNG sequences we might have missed the airtime!
    KWST/KVTV are the local stations run out of University of La Verne, covering La Verne and San Dimas CA. Being run by a college, budgets are liw, and, by necessity, much work is passed to students. Sometimes they flake. I am top of the freelancer list, so, often I am called on short-to-zero notice, which is why I did the mini love-letter to Hitfilm in my last post. None of my other tools would have allowed me to complete that animation with the surprising amount of detail in that time frame. I would have had a much simpler design in any other software--the 3D workspace of Hitfilm just let me create a basic environment, let the particle sims chug away, and concentrate on smooth camera moves, without having to worry about roto and occlusions.
  • Triem23Triem23 Moderator
    edited May 2014
    New version of the Andrew Kramer(ish) Star using Simon Jones(ish) Polar Warped Corona: Now--I was a stupid idiot one night and accidentally deleted my original project for this star experiment (Ok, I saved over the original version after stripping some stuff out and doing a "Save As" to isolate some elements)
    That means this version is a ground-up rebuild, and not a tweak/adjustment of an extant version. Whatever I did differently this time, as this iteration rendered in 3.5 hours instead of the 4.5 hours of the previous version.
    EDIT: sonofa! Yeah, left off my light wrap source layer and a glow layer... Ok, re-render time....
  • Triem23Triem23 Moderator
    Ok, version 5. Notable in this version: I added some Z rotation on one of the star map sources. This seems to give the star the appearance of roiling in different directions at once. I was going for turbulent.
    My Underglow layer has a gleam on it.
    My Star is now using three Light Wraps for the outer glow, instead of the circle matte. These light wraps drop in radius and intensity as they stack. Light Wrap 1 is 128 pixels wide, full opacity and LIGHTEN blend mode. Light Wrap 2 is 64 pixel wide, SCREEN mode and .5 opacity. Light Wrap 3 is 32 pixels wide, .25 opacity and ADD blend mode.
    There is a grade layer between the star and the Federation Cruiser--this grade layer has another gleam on it, choked to a low of .85 and a high of 1.0--This is to add some rays coming from the brightest spots on the surface of the star.
    http://youtu.be/hZ4OKPpYzJ4
  • SimonKJonesSimonKJones Moderator
    Like it! The volumetric light rays effect on the ship seems a little strong, though - I'm not sure it'd black out the light quite so strongly.
    Otherwise, though, it's a lovely shot. Lighting on the ship at the start is great, too.
  • Triem23Triem23 Moderator
    edited May 2014

    Like it! The volumetric light rays effect on the ship seems a little strong, though - I'm not sure it'd black out the light quite so strongly.
    Otherwise, though, it's a lovely shot. Lighting on the ship at the start is great, too.
    Thankee! I agree. The volumetric shadow is too much. Whatever the current intensity is, cut it in half, and I think it's good. I think the anchor point needs to be shifted a bit, too. Maybe keyframed, because the direction of the shadows doesn't quite match up correctly to the surface of the sun. But, putting the anchor point at the center of the star doesn't work--it's too far away.
    (but, damn, wasn't it clever of Phil Wesson to think up using light rays on a model layer as quick n' dirty volumetric shadows?)
    Oh, lighting for this shot is simple. A point light in the center of the star, color sampled from bright yellow corona, intensity 75%. A point light attached to the camera, 400 units below and behind the camera, color from dark red corona, intensity 25%. I have a proper "light pass" layer on Phoenix as detailed in your "Glowing Lights and Stanfield" tutorial.
    The light wrap has keyframed opacity because of the speed of the camera move and model, it seemed to "pop" on when USS Phoenix entered the red glows.
    Oh, I said this above, but, my bottom star map fractal rotates 10 degrees on the Z axis (you know. The only rotation axis a 2D layer rotates on). 10 degrees in 30 seconds is too fast. I should try 5 degrees. Anyway--that rotating layer when the other layers are static (except animated seeds) tricks the eye into seeing that as polar rotation--helping to mask the actual polar warp in the sphere by distraction.
    This star is getting moved into the Battle Pass shot. USS Phoenix will now dive at the Klingon after slingshotting around the star to make intercept. I can restructure my Nebula to orient around an accretion disc. This gives me solid structure for setting up the depth fog z-pass as it's now both ships emerging from one spiral into the relative vaccum between arms of the disc!
    Hey, when are you gonna put up your star test with the saucer? Not everyone subscribed to your youtube channel. ;-)
  • edited May 2014
    T23- You've outdone yourself. Excellent job!
    Edit: 2:54
    Forgot- if you right click on the project icon (where it's stored on your drive) you might be able to find a previous version of the project if it's saved under the same name. I did that the other day- first time it ever worked but I saved some time recovering one of the segments of my catalyst video. I renamed it and saved it again.
  • Triem23Triem23 Moderator
    edited May 2014
    And....
    Returning to this other shot: Scrapped the Nebula, and completely rebuilt it, now as a spiral accretion disc around a star. A little Photoshop work for a background environment wrap, and I think the depth is finally starting to work.
    Lighting needs to be fixed and all the depth fog passes need to be redone, but the environment is finally starting to work.
    EDIT: The issues listed above have been addressed. This is the iteration of the shot also posted below. Yes, I often delete roughs from here and Youtube--does anyone really need to see all 12 versions of this? ;-)
    https://www.youtube.com/watch?v=Zurb8jIw5ac
  • How did I miss the bees? Those are the cutest, friendliest bees I've ever seen! Great job!
    They didn't give me nightmarish flashbacks to when I was a kid and got stung on the ear.
    The space station surprised me. Didn't expect to see it!
  • Triem23Triem23 Moderator
    Yeah... I hate bees myself--one landed on my laptop monitor here at the coffee shop, and I just stared at it, unmoving, for a good five minutes until it left. Because the only other option was to throw my mocha at it, them flail around like a madman until it, or I had perished.
    But my cartoon bees are pretty neat. :-)
    The space station surprised you? It's been there since the first version of the shot!--No, in more recent versions, I moved that station a LOT closer to the camera. And the iteration I rendered last night has no cloud occlusion and some lighting issues--that station shouldn't be front-lit like a Xmas tree!

     


    How did I miss the bees? Those are the cutest, friendliest bees I've ever seen! Great job!
    They didn't give me nightmarish flashbacks to when I was a kid and got stung on the ear.
    The space station surprised me. Didn't expect to see it!
  • Ok, so: the brief was a cartoon field, flowers, bees and pushing in and out of flowers as transitions.
    This is not in my normal style, so this was kind of fun....
    And, of course, I score bees with for the Youtube version with... Rossini's "The Thieving Magpie." Not Rimskykorsaova's "Flight of the Bumblebee." Because that's too easy...
    http://youtu.be/4yALWavYXyg

    How did you create all those blades of grass?
    How did you animate all of those bees???? they weren't even quite billboarded however they all we sort of turned to the camera.... How did you do that?

  • Triem23Triem23 Moderator
    edited May 2014
    How did you create all those blades of grass?
    How did you animate all of those bees???? they weren't even quite billboarded however they all we sort of turned to the camera.... How did you do that?


    Ok, so, for the grass, I drew a single blade in photoshop on a transparent background and saved as a PNG. In Hitfilm I put this blade in a composite shot, moved the anchor point to the bottom of the blade, then keyframed some Z-rotation. I embedded this composite in my main comp and used it as a texture source for a particle sim. I created a quad emitter, rotated and shifted it into position where I put my ground plane, and spawned the entire field as a single particle sim. I used time shift so that particles spawned for about 2 seconds before the shot began so the texture animation would offset. Obviously, the grass particles have a speed of 0.
    The bees were also drawn in photoshop. Each body and each wing was exported as a separate PNG file. In Hitfilm, I loaded each body and it's wings into individual composite shots, adjusted the anchor points for the wings and animated the flaps. in this case the bee sections were made into 3D planes. The front wing was moved 1 pixel closer to the camera, the rear wing moved one pixel away from the camera. Wing flap are actually animated in 3D--the wings rotate on multiple axes. This comps were embedded into the main comp, and, again, assigned as texture source  layers for particle sims. The bees spawn from cube emitters set off camera. The emitters were set to cone trajectories, which were adjusted so that the bees flew in the desired direction.
    Billboarding the bees didn't work so well, since the bees were "slewing" as the camera did it's z-rotation, so I turned billboarding off. I also turned off "Align to Motion." It just happened to work out that the bees were basically facing the wrong direction, and, since everything is flat artwork, anyway, we decided we liked how one could see the flatness of the bees as the camera rotated. But I basically got lucky with the bee orientation.
    So, basically, it's using the Particle Clone technique from Simon Jones's tutorial, but I cloned bees and grass instead of people.
    Oh, the flowers were also drawn in photoshop and exported as PNG files. They are 3D layer placed directly in the main comp--but Hitfilm's 3D compositing space meant that the grass and bees just wrapped around correctly. Again, I moved the anchor point to the bottom of the flower and keyframed some Z-rotation. Once I keyframed the first Flower, I just cut and pasted random keyframes to the other flowers so they didn't all move the same way. The Sun graphic was drawn as a circle element and ray element in photoshop, put in a composite to duplicate and position the rays and animate the rotation--the sun was embedded into the main comp as a 3D plane and positioned.
    The clouds were drawn directly in hitfilm--a plane with a slight gradient was created, and several overlapping circle masks were drawn. The clouds were brought into the main comp as a 3D plane and positioned. There are only two clouds--the rest are scaled and/or flipped duplicates spread out in 3D space.
    The background hills and mountains were drawn in Hitfilm. Again, planes with gradients were set up and the simple shapes drawn with ask tools--again, 3D layers positioned in 3D space.
    The ground plane is just a big plane with some fractal noise, again, a 3D plane positioned in 3D space.
    So, basically, I just placed a bunch of 3D planes and a few particle emitters in space and let it go. Hitfilm's 3D compositing space meant I didn't really have to worry too much about occlusion issues. Although I noticed one bee "pops" right through a flower.... the day after I delivered the final animation to the client. Oh well. ;-)
    Once the environment was set up, I made several copies of that composite shot--one for each segment: The actual output for client had separate animations for "Opening Titles/Choir1," "Transition 1/2," "Transition 2/3," Transition 3/4," "Transition 4/5," and "Closing Credits v1" and "Closing Credits v2." Then I just moved my camera around. each copy. (If you look closely, you'll see that the position of the clouds actually keeps changing back and forth--there's no actual continuity of how the clouds flow across the sky, since I kept re-using the same 45 second environment comp for what ended up being 2 min and 45 second of animations.
    The version uploaded to Youtube is all the original segment edited together, crossfading between segments. For the actual show I created this for, we held for a second each time when the scree was filled by the yellow cores of the flowers. Circle wipes were used to transition between show scenes and animation segments.
    Think that covers it. :-)
    EDIT Of course the "Nature's Song" logo is a simple embedded comp with the title. I created the title in yellow, then modified a GRID effect to get the horizontal stripes. This was brought into the opening titles comp. A 3D point was created and used as the transform point for Atomic Particles. That's just keyframes of fractal dispersion/displacement as the 3D point moves across the environment.
    EDIT-EDIT: The bee with the banner is a copy of the "Side Bee" composite embedded in another composite. The banner was drawn in photoshop and imported into Hitfilm--a few layers of embedded comps are used because the text was done in Hitfilm (If I had put the text directly on the banner in photoshop, I could have saved a coupe of steps in hitfilm). Basically, there's a masked, embedded comp of some circular Radio Waves being used as a displacement map to get the banner to ripple. Once I had the bee and rippling banner set up correctly, that was brought into the main comp and set as a 3D layer. He's hand-animated to cross into and out of screen at the right time, which means he's the only thing that isn't procedurally animated.


  • Wow thankyou that makes allot more sense!

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