I was thinking today.
- Core matte first. You always build from a good core.
- 3 mattes. Darks, Mids, Highs
Back to making [light] look like [light].
The Wrong Way
Nobody ever thinks its going to take that long or its going to be that difficult. Its the "what could go wrong" mentality.
We have a camera and all the set information we could possibly want
Most of the time you start doing look dev stuff early on. Most of this is done in a fashon that doesn't lend itself to being efficient. Its a look not a final shot.
The Effects Artist
A lot has been writen about what makes a good visual effects artist. Scott Squires wrote What makes a good visual effects artist. Its a wonderful look at what the core skills are, above and beyond the normal good employee. He followed that post up with Visual Effects tips 1. Also a good post more directed at non learned skills. Non learned meaning you didn't learn that said skill in Nuk101.
While I agree with what Mr. Squires says in each of his posts, I feel that there is an idea missing.
I have worked in many of the jobs in modern film[movie] production. I learned how to load film and slate as a 2nd-2nd Asst. Cameraman[Clapper]. I learned how to pull focus and operate a camera as a 1st Asst Cameraman. I have been a grip and a electrician. I learned real lighting and blocking. I watched as the stunt coordinators very, very carefully prepped the big stunt.
Your asking yourself what the f*$K is this guy talking about.
I am talking about starting at the bottom and working your way up. I started in dustbuster/roto/compositing. I did scratch removal for months on Battle of the Bulge. When there wasn't junior comp work for me I dustbusted, rotoscoped, did speed changes and digital opticals. This was amazing training to be a really good compositor. I had a great spot right by the review station and every time an artist and supervisor were going over a shot, headphones came off and I listened.If it felt right maybe even asked a question or two. Why did you do it that way, and not this way. Can you show me how you did that.
During that time I learned from the senior guys how not to act in a review. How to defend your techniques with out looking like an ass. I learned what questions to ask the supervisor so you knew what direction to go in, and what red really meant. You learn comp techniques outside of what the default use for a node. But the most important idea I learned in my first 5 years in visual effects. Compositing is a incredibility hard job. Nothing is ever the same. If you get stuck inside your box your shots will never get done.
I'd like to thank Jim O'hagen, for dragging me along with him. Joe Gareri for giving me a shot.
I didn't f%* up.
Never let anyone tell you how to comp. Composite with purpose. Have a reason for everything you do, and the facts to back it up.
Defend your techniques.
If someone doesn't understand, explain yourself in a matter that gets the point across.
Most of what I do, make as many mistakes as I can in the shortest amount of time.
I love my job. Wouldn't change a thing.
Paula Nelson:
A rare annular eclipse - a ring of sunlight as the new moon, passing between Earth and sun, blocks most, but not all, of the sun's disc. It is striking to see.
A great group of photos.
Enjoy.
Comp
When I'm asked: "What do you do for a living".
I get a lot of blank stares when I respond "Compositor". So most of the time the next job title i try is Visual Effects. I then get "oh ok".
I was an AD[Assistant Director]for awhile as that was the only thing that made sense to my family. Which is a strange idea altogether. I would make a horrible AD. The scary thing is Compositing is even more obscure.
If you search wikkipedia for Compositing, you get a page that gives the basic rundown. Putting the mathematics right on top of the page seems to be a bad idea. Scares people away. Scolldown and you will get into more of the nitty gritty. The main thought to take away from this page is that Compositing is not a new sport.
Compositing [Comp as I will refer to it] at its simpleist is problem solving. Layer A needs to be placed over layer B. Simple right, wrong. Not simple. Theres math, theres color. Most comps start off very simple but very fast turn into a huge web of color values being pushed and pulled to make a cohesive image that makes sense. Most of the time you work either background to foreground. Make sure all elements work based on color, sharpness and. atmosphere Its when you run out of buttons to push is when you have run out how good you are. As a compositor you have no choice but to be successful. You're the last stop. The Maya artists are done and the coordinators are waiting for your render. Make it perfect. Dont laugh I have seen those notes for shots. My mentor has "Make more Magical" come across his desk.
Understand Lenses, color and have ninja powers on your compositing software and all will be good.
Getting Good
Went to lunch last week with a old friend from Pactitle. We were a Shake house; this was before Nuke was for sale to the public.
Walking back from lunch he asked a question
"What are the important things to be good at with Nuke".
Tom, you asked a very complex question. Some would argue the channel system, some would say the mock 3D world. Others would say just straight 2d comp. Its not the RotoPaint node that's for sure. Here are some ideas and links. Enjoy.
Layers and Channels
So much flexibility can be found in layers and channels. Not to mention cleaner more readable scripts. Which is always a good thing. Having your mattes and other images down stream from you is great. Here is a link to the nukepedia article about the subject.
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Most of this is learned from Josh Johnson. He was and should still be the lead Roto/Paint artist at Digital Domain. Shuffle a white alpha before you start painting if you need to use the onion skin feature. This is not a fail safe. but it helps. Get good at paint in Nuke it will get you out of some bad rock and a hard place type of situations.
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If you have access to NukeX then get good the Camera Tracker. At least as good as you are with the 2d tracker. So much data you can get for free if you have a camera for the shot. Pointsto3d is amazing node. Aleast makes up for the shit paint in Nuke.
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Yeah I know programing languages. Boring! It can make your life easier. Even if you just copy and paste other peoples Python[OPP] it can help. Python for Artists
And anytime someone who has been working in this industry for awhile speaks out there are always detractors. In forums where this issue was discussed young people who are in this industry always asked “what happened to all the money this experienced person had been paid?” "Why don't they just quit?"
Nailed it.
Except for this:
Maybe move up from a few pairs of jeans and show t-shirts to real clothing.
Scott Squires:
"Peter Jackson has been shooting The Hobbit in 3D at 48fps*. Jim Cameron is looking at doing Avatar sequels at 60fps. The preview of some of The Hobbit footage this last week caused some concern and confusion. I didn't see the footage but will describe some of the reasoning and history of why frame rates are being explored".
A great look at why maybe Peter and James have the right idea. That is if that is what your after.