Tackling VFX With haz

a Step-by-step breakdown on how haz would present concepts and possible Solution Scenarios to the co-producers and VFX team

Step 1: a) Artist updates the asset in Maya with shaders, and applies the existing textures with diffuse and bump. The asset is already fully rigged.

b) Artist modifies the head only, from previs concept images. Remove the face area but keep the sides, back and mouth.

Step 2: Shoot the scenes on location using shot list.

a) Actors wear a custom-designed grey suit with tracking markers on.

b) Chrome ball (HDR) taken with a DSLR at bracketed multiple exposures, and Grey Ball as a lighting ref.

c) Measurements and data recorded on VFX sheet (camera distance, height, lens, FOV), handed to DIT.

d) Witness Cameras (x2) capturing angles not visible with the main A-CAM, to be used by the animators.

e) DIT responsible for organising this data in labelled folder structure linked with Scene number on slate.

Step 3: Edit the sequences — lock the edit of those sequences and export each shot footage (as frames) with a neutral tech grade applied.

Step 4: Each plate is tracked by the matchmove artist using camera data and asset is placed in correct worldspace position against the footage. This Maya file is then exported out.

Step 5: a) Animator will then start using the tracked Maya file to rotoanimate the rigged asset over the footage of the actor performance.

b) While animation is taking place, a CG artist will light the scene (using the HDR and lighting ref) with the agreed renderer (V-ray or Arnold). As each animated shot is signed off, the artist will then bring in the lighting setup into the animated file.

Step 6: Once lighting is signed off, render passes (Beauty, Mattes, AO etc) are rendered out for compositing. It’s suggested that the CG artist do a pre comp before sending to the compositing artist.