I first attempted this in Maya despite the tutorial being in Blender and tried to use my experience from the VFX module last year, to input footage. However, could only manage to input the footage as an environment on one of the cameras, this would not work as It means that camera movement wouldn’t be possible as it would always have to be placed in a position suitable to the greenscreen footage for the position of the person to match the flooring.

Because of this I decided to download blender and try my attempt at it on there, which was far more successful. The actual process of inputting the footage was easier than thought, and I was able to place the character into a temporary blocked out building. I was happy to see that the video also reflected an shadow from the person.

However, Green screening was only one possible way to handle the adding of footage. Another is tracking, which while appears more difficult means I’d be capable of using any footage and simply build up the models from around it. Making shooting easier.

Move - G [G for Grab]

Then Hit Z,Y,Z depending on which axis would you like to move across, hitting none allows for freeform movement.

Scale - S

Select All - A

Duplicate - Shift+D

Linked Duplicate - Alt+D

Create Edge/Face - F

Extrude - E

Crtl+J  - Join Selected objects

U [edit mode] – Unwrap mesh.

Tab – Toggle edit mode.

Crtl+Middle mouse click - Extrude to cursor

Today's lecture was about Richard's research on Virtual Production and it's usage via, creating an project collaborating with an games artist who handled the environments. He overcome and worked through such problems,

• As long as there is no commercial profit there is no fault.

One more time - now you will agree five equally strong arguments in support of the opposite statement (10 mins)

• Harm Reputation & Encourage negativity towards original footage.

  
  

  Impact on the future:

  AI will make an impact in the work we do, the level of this however depends on the acceptance we as people make towards Generative AI and the use of stolen works and inhuman 'Art'.  This could severely decrease not only the amount of jobs in the creative industries but also, in my opinion, see a decrease in appreciation. Example- A company when faced with a worker's strike if they thought AI was applicable in replacing these people would without a care.

  
  

  However, AI technology in itself will most likely work to make our job easier especially with grading if it could ever reach a high enough standard to assist in balancing and copying over previous grades.

  Also important to note that the difference between large companies and freelance in the impact, and it's workers.

Unreal Engine

• Unreal Engine is an software often used for both video games and virtual production in order to composite and create environments from models. It was suggested of me to look into this and consider doing my final stages of work with it- I will continue to do research into it and decide on using that or blender for the final stages of implementing footage.

Other people doing what I'm doing:

• I was encouraged by Greg into looking further into the industry of VFX and virtual production in order to gain more understanding on what others are doing similar to me and how I can work towards it. It also would be something useful for future networking and inspiration.

• Ian Hubert was one of the first people I saw doing similar to what I wanted to create and was my first inspiration for this project who Ill look into more.

Show practice and fail

• Old cinema

• Charlie chaplin

• Old cinematographer movie

• Cellulous nitrate film - Link back to online talk with Pat Horridge

• United Artist Studio - Where artist have power.

• ‘Model C or cutting room model

• Avid mid 90s

I was relieved to learn that Maya objects can be exported in the .fbx format, which is compatible with Blender. This presented a straightforward solution to the issue I faced.

However, despite the simplicity of this approach, I believe it would not be practical to rely on it for the majority of the models within the environment. Transferring models in this way could limit my ability to manipulate them effectively in Blender and might result in an unnecessary accumulation of files, complicating project management.

One key takeaway of it was the importance of combining technical skills with strategic networking. He notes that Aspiring professionals should explore opportunities to connect with mentors, attend relevant workshops, and showcase their work online. Such efforts can open doors to valuable collaborations and industry connections, which are often as crucial as technical proficiency in advancing your career. It is also few meeting these people that I could learn more about technical skills, because while I have undertook a lot of personal research there may be insights that can only be provided to me by an industry professional.

I found myself frequently revisiting Groenewoud's texturing work as a source of inspiration, especially considering the level of detail and realism he achieved is something I certainly aspire to achieve in my own project. This aligns closely with my initial inspirations, such as Ian Hubert, whose work emphasizes hyper-realistic environments. Reflecting on these influences, I recognize that pursuing a realistic style would resonate strongly with the vision I had when first conceptualizing this project.

This was particularly lucky for me as I am generally against the use of Generative AI in all media, the important of that statement is 'Generative. Generative AI unlike just typical AI, is what it's called when you are using it to generate either an artistic work, whether that be Video/Audio/Picture from a prompt or from an original image. An example of the secondary would be photoshops new, 'Create Background' feature which allows you to use AI in order to extend an photo outside its realms by generating something similar to the photo to replace the edges.

It’s one of the most popular 3D software, largely because of its free price and open-source nature allowing for quicker bug fixed and new features than usual. However, despite its popularity amongst freelancers - big developers don’t use Blender software as they already have established tools that work in their production line. So, while it is something being adopted slowly into the industry, it is also important for me going into this project that exploring other software’s, will be beneficial to an future career.

While I do not plan to use it in this project; Below is noted websites where you can find and download to use in Blender ideally for free:

3D Models for Download | TurboSquid

Typically, priced models, and website created by Shutterstock. Not recommended but can occasionally find smaller low poly models of household items which are incredibly useful. Over 25000 models free.

BlenderKit | FREE 3D models, textures and other Blender assets

A neat website with a long range of different models separated between a free and full plan; It also has available some textures typically photo scanned. A lot of good shrubbery and other models for extra detail to a piece.

Not industry standard.

While great for learning the ropes of 3D software and working on solo-projects. Taking on an actual project and working with a team or a company it’s unlikely to use 3D animation. This is because most companies already have a paid software built into their workflow, one of these software’s is Maya.

Learning Curve.

Blender is known for having a steep learning curve to some when starting out, it’s interface is far less user friendly and due to the extent of what it can do may seem daunting. Also, personally due to my previous experience it would be the obvious choice to choose Maya, at least for the modelling.

Pros:

Free open source.

Blender unlike most 3D Software’s is not only completely free but also open-sourced, which means the source code is available to the public for anyone to use, modify or redistribute free of charge, because of this the community handles updates instead of blender or a third party allowing it to respond to the needs of artists more quickly.

Lots of tutorials and resources

Due to its easy accessibility blender has a large user base. This makes it so tutorials and resources for this software is easier to find than the typical 3D Software, so while I have less experience in this software compared to the others. There will be no difficulty in finding sources for help.

Here are some examples:

More diverse – compositing tab

One of the largest pro’s for using Blender for this project is its compositing Tab. Which is a tab which is used for post-processing and adding effects to final renders; also letting you for things such as layering (Combining raw footage with a background) which will be the largest use of this tab for this project. To add the footage itself to the environment.

Procedural workflow

This means being able to create a 3D object and make changes, but still having the option to delete those changes without destroying your 3D object's mesh. This will be helpful when trying to achieve a clean workflow, which I will be.

However we did talk about the topic of future additional research I could do for this project, even if it would not be successfully applicated such as:

• Green screen

• Virtual filming

• Motion capture

The filming process involved contributions from Lee and Robert, who provided technical support and access to their equipment, as well as assistance from my fellow students: Alex O’Neil, who worked behind the scenes, and Emma Tamang, who acted on camera. Before beginning the main filming, Robert invited me to create a block out model to test within the virtual production setup. This involved constructing a simplified 3D scene in Unreal Engine and then importing it into the virtual environment to visualize how it interacted with the space and the green screen. Experimenting with this block out model provided crucial insights into the technical aspects of virtual production, especially regarding scale, alignment, and spatial perception within Unreal Engine. For example, when importing my block out model, we quickly discovered that the model's scale was mismatched with the virtual environment; the 'actor' within the Unreal scene appeared disproportionately small.

This issue highlighted the importance of precise model scaling and scene organization, especially when translating digital assets into physical spaces. It taught me that importing assets without attention to scale and alignment can disrupt immersion, and adjustments to model sizes, camera angles, and actor positioning must be carefully managed to maintain consistency. This process of troubleshooting and refining elements not only helped me understand the technical side of virtual production but also taught me valuable lessons about planning and adapting digital assets for realistic integration.

This will make imputing the footage so much easier and will fasten my workflow extensively. As I will not have to spend any time ensuring there is no spill suppression and image loss.

In this tutorial, Hubert demonstrated a technique involving the use of an image layered onto a basic square model. By applying this method in combination with edge loops, he quickly added details such as window indents and decorative features. While I appreciated the simplicity and efficiency of this approach—particularly for creating low-poly models suitable for distant or background use—it did not align with my specific goals for this project. My aim was to explore a more detailed and hands-on approach to modelling, which required further research beyond Hubert’s methodology.

As a result, I began investigating other creators and resources to deepen my understanding of Blender and techniques for constructing more intricate models. This experience highlighted the importance of tailoring research fit the requirements of a project, as well as the value of exploring a variety of perspectives and workflows within the 3D modelling community.

I did this by first setting up the three individual scenes on my workspace. One to see the mesh over the actual scene in order to ensure that the models are aligned as correctly as possible, one to see the solid from the camera prospective or any far away shot. Then the final one on the right that was used to actually model and move around.

In case of no permission I came up with an back up plan of borrowing an green screen flooring from the kit store or buying one myself, to use and borrowing other lights to set up an makeshift green screen. However, this would've never gotten as good as results as I feel like filming on the CEET Greenscreen would achieve.

After the recommendation from Greg to email Lee regarding his help on the project, we sent back and forth multiple emails looping in Robert Armstrong who was working with the space itself. Robert seemed interested in the current project and offered his help, gratefully, and we were soon able to decide an date in which everyone was available for filming.

As part of this tutorial, I designed and built a house environment, incorporating a patio and an indoor karaoke room. The idea for the karaoke room came from a suggestion by another student, and it added a unique feature to my project.

Although I had some prior experience using Unreal Engine at home, I had never previously worked with the challenge of using only the basic starter asset pack. This limitation pushed me to focus on problem-solving and creative use of the available tools. For example, I was so restricted with the starter content that when constructing the Karaoke room, I used a plain square model to create a segment for the 'TV' screen before using a picture frame which I textured with a steel material as a makeshift 'TV' frame. I also experimented with different materials with the tv screen itself having it pitch black before deciding that material labelled 'Ocean' used for water would be a better fit, for a moving image on the TV that also reflects off the lighting of the room nicer. Having lit up the room pink and purple to make the room more similar to one typically used for karaoke.

The session reinforced my understanding of Unreal Engine's foundational tools but also deepened my appreciation for the creative potential of working within constraints. It showed the importance of mastering the basics which will help me to build more complex and polished projects in the future. Helping boost both my confidence and my technical skills.

Key features include advanced rendering capabilities, a user-friendly visual scripting system (Blueprints), physics-based simulations, and support for a wide range of platforms. Its flexibility and scalability make it suitable for both small independent projects and large-scale productions. Unreal Engine is also supported by a vast community and extensive documentation, making it a cornerstone tool for modern digital creation and with this tool, developers can build, edit videos or sound, and render animations.

Epic Games (2023). Unreal Engine | The most powerful real-time 3D creation tool. [online] Unreal Engine. Available at: https://www.unrealengine.com/en-US.

Erolin, J. (n.d.). What Is Unreal Engine? - BairesDev. [online] www.bairesdev.com. Available at: https://www.bairesdev.com/blog/what-is-unreal-engine/.

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Arevalo, K., Tovar, M. and Li, J. (2021). Creating Games with Unreal Engine, Substance Painter, & Maya. CRC Press.

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Engine Source.

Allows free access to source code. It is not typically useful but can be valuable in specific cases. This isn’t possible on Unity without a cost or high-end subscription.

Easy for artists to understand.

Despite being mainly a tool used for game design, it also implements programming elements. It’s not particularly difficult for artists with little experience to use either. Similar workflows with meshes and materials can be used natively with Maya and Blender. By simply dragging the fbx file into the source browser, it will import any model from any 3D software and also has plugins that allow direct collaboration.

Advanced Lighting generation.

Unlike with other software especially just looking at 3D software, it does not require a lot of fiddling to simply light a scene or allow graphics to render nicely onto a model. Taking a model from a previous software and relying on the lighting and material options of unreal, were far easier when it came to curating more realistic-looking textures.

Performance.

It’s a powerful software that with a proper machine can allow you to create a multi-environment location without a load and can run multiple assets and simulations/fx at once. Even with my computer, which isn't top-of-the-line. I was able to create smaller environments, such as an apartment or alley without too many frame drops. I will note that the performance seemed to rely more on what was in your source browser than what was actually in the scene, I became aware of this on a separate project where I added multiple FAB packs to it and often faced extreme frame drops.

These pros are what led not only me in selecting this software but also the industry with Unreal taking up around 90% of Virtual Production products workflow in the industry. Unity originally tried catching up back in the first boom of the industry but has since realised it’s failure in the competition and focused fully on the video game industry since.

This could've been because unity has always been, in the video-game industry- the more programmers friendly software while Unreal for the creatives, and when it comes to virtual production it is no doubt the creative side of unreal which is favoured more specially for its simplicity in starting.

E - Rotate

R- Scale

Right click and use WASD to move similar to an videogame. Q + E to go up and down, and middle mouse wheel to slow or speed up the sensitivity of the movement.

Hold Alt while clicking an object and drag to create a duplicate.

Project settings add content

Third person content add

Will create an file called 'Characters' Any mesh can be used as an character reference for scaling.

Selecting play will allow control of character in an third person prospective'

Control + Space to access content draw

Ctrl + L will change the time of day

(Note only with that specific project file type due to it already having an sky atmosphere placed but can be replicated on blank files).

It also educated me on basic camera knowledge when it comes to filming and what should be watched out for. Such as, making sure the exposure on the greenscreen isn't too bright and that the attire of the actors is correct for filming.

[Learning Motion Graphics]

Learn about the world of motion graphic design (linkedin.com)

[Blender Introduction]

Introducing Blender 3.0 for beginners (linkedin.com)

[After Effects CC 2021 Essential Training: VFX]

Welcome (linkedin.com)

[How A visual Effects Company Works]

linkedin.com/learning/how-a-visual-effects-company-works/your-place-in-the-vfx-industry?u=75820234

[learning Nuke]

linkedin.com/learning/nuke-essential-training-2/get-started-with-nuke?u=75820234

One area where this project could have been improved was in my planning and preparation for potential technical challenges. For instance, when my computer broke, it caused significant delays that could have been avoided with a more robust plan. Regularly saving files, maintaining backups, and anticipating the possibility of such issues would have provided greater security and efficiency in my workflow. Additionally, planning my schedule to allow more dedicated time for compositing would have helped ensure this stage of the project would have allowed for a better finish project.

What Went Well:

Despite these challenges, the project was successful in several key areas. I managed to explore multiple aspects of VFX and experiment with software that I had not previously used. This hands-on approach allowed me to advance my technical skills while broadening my understanding of different tools and techniques within the field. Furthermore, this exploration sparked a renewed passion for VFX, inspiring me to look into networking opportunities and begin considering the creation of a professional portfolio. This marks a significant step in aligning my practical learning with my long-term career goals.

Next Time:

I will now begin to focus more on the practical aspects of my exploration into VFX work and dedicate less time to written analysis. Now that I have gained a deeper understanding of the software and advanced my technical skills, I feel more confident prioritizing hands-on experimentation and production. This shift will allow me to create more impactful results while maintaining a balance between creativity and technical execution.

However, In terms of research I find myself happy. Especially when it comes to modelling, Having no experience and a original negative outlook on this project I was surprised to find it highly enjoyable and something that I often willingly took my time to practice and study in my own time and will continue to onto next semester.

-Could use more reflection on software research and personal opinion

-Allow more time for composting

-Further storyboard and consider writing an script even if there is no narrative

Alex:

-Add more unreal screenshots even if no description to show your development

-Create an shorter video in order to ensure higher quality

-Don't overwhelm myself with what I want to create as it's an first time endeavour.

This task will not be narrative based and simply focus on the technical aspect of working with these software. I will focus highly on the researching aspect and go into this project completely brand new to all these subjects, this will work to pave a path into my new career aspirations which are now in VFX.

This will also serve as my testing ground for techniques I will use in next semesters project, where I plan to work with other students and friends in creating an short narrative film in a similar environment.

During this study, I made a note of how the UV mapping affected the results. Particularly in regions with complicated topologies, like the inside of the tubing in the wall's upper half. Although this problem was unintentional, it was educational since it demonstrated how important it is to manage UV maps to avoid overlapping and unintended transparency. The overlapping UV textures in this location resulted in a loss of data, making the inside of the tubing appear see-through.

Maya offers a robust set of professional-grade tools, particularly for animation, rigging, and modelling, with extensive support for complex pipelines. Its integration with other industry-standard software, such as Houdini, Nuke, and ZBrush, ensures seamless collaboration across various departments. While Blender can collab with these software the level of inbuilt integration is not comparable to maya, and often maya will have a specific customer support sector for post-houses who are having technical difficulties unlike blender which being an open software doesn't have too much of an professional element.

It is this professional support of Maya that stretches to their training as well. Maya's extensive documentation, training resources, and support networks make it a preferred choice for large-scale production environments, where consistency and reliability are paramount. Unlike Blender where the majority of it's training is open source and often taught from fellow users, which can cause difficulties when it comes to all learning to do certain things in the same way which would be necessary when creating high detail models or animating.

This exercise proved beneficial in understanding the workflow and affirming that I was proceeding correctly. Upon reviewing my example, Christopher validated that my method was consistent with his advice. In addition to his affirmation, he offered insightful suggestions for enhancing the footage through colour grading and the application of basic effects, should I choose to elevate the visuals further during post-production. Nevertheless, he emphasized that all significant effects and modifications should preferably be executed within Unreal Engine. This recommendation underscored the necessity of utilizing Unreal’s powerful real-time features for seamless integration and achieving a harmonious aesthetic.

This feedback not only reinforced the importance of effectively balancing tools such as Unreal Engine and After Effects but also underscored the significance of maintaining a cohesive workflow to minimize unnecessary transitions between software. Moving ahead, I intend to implement these insights by completing as many effects as possible within Unreal, reserving After Effects primarily for final enhancements and minor tweaks. This strategy will enhance the production process while ensuring a consistent and refined final output.

This lecture also covered the importance of problematising the projects, looking at the criticisms and covering them accurately. One of the examples we went over in class was:

An project designed with the final purpose of opening a Video Production Company. Some of the questions we came up with to reflect on this work:

• How will the success be measured?

• What is the deliverable? Is it a website, showreel or a video of you talking about the journey with evidence of your process?

• Creating a company in 12 weeks seems unrealistic. Consider a narrow approach, such as filming a set number of promos and calculating the company's success rate.

Inspired by this technique, I decided to recreate the shader to the best of my ability. This process proved to be an invaluable learning experience, as it deepened my understanding of the various uses of individual nodes within Blender's shader editor. Moreover, it highlighted how one can create dynamic shading effects that respond fluidly to changes in lighting.

I then added an square and an hollow cylinder to it just to give it a more finished look. It was a valuable excersize in not over detailing a model but most importantly using modifiers around an object, modifiers can be incredibly useful in speeding up the work process but only if one can accurately use it. I feel a little bit mode confident now in my understanding of them and feel capable to branch out of just the Boolean and array modifiers.

Boolean:

Uses one of three Boolean operations to create a single mesh from two mesh objects: 

• Difference: Subtracts the target mesh from the modified mesh, often used to create holes in objects.

• Union: Adds the target mesh to the modified mesh 

• Intersect: Keeps everything inside both the target mesh and the modified mesh 

Array:

The Array modifier creates an array of copies of the base object, with each copy being offset from the previous one in any of a number of possible ways.

docs.blender.org. (n.d.). Array Modifier - Blender 4.1 Manual. [online] Available at: https://docs.blender.org/manual/en/latest/modeling/modifiers/generate/array.html.

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A notable use of Unreal Engine's lighting system can be seen in The Mandalorian (2019), where the production used Unreal Engine's real-time lighting to create dynamic, photorealistic environments projected onto LED walls.

Pros:

• Real-Time Adjustments: Unreal's real-time rendering allows for immediate feedback when adjusting lighting, making it easier to experiment with different moods and settings.

• Dynamic Lighting Options: Unreal supports advanced dynamic lighting, enabling realistic shadows, reflections, and lighting changes that respond to in-scene events or camera movement.

• Ray Tracing and Lumen: With ray tracing and Unreal Engine 5's Lumen, creators can achieve cutting-edge global illumination and highly accurate light behavior, even in real-time applications.

• Integration with Other elements: Unreal's lighting system is built to work with materials, particle effects, and physics simulations to create cohesive, immersive scenes.

Cons:

• Performance Demands: Advanced lighting features, like ray tracing, are computationally expensive and may require powerful hardware, especially for real-time rendering at high quality.

  
  

• Setup Complexity: Achieving professional-grade lighting requires time, skill, and a deep understanding of Unreal’s tools and settings, which can be daunting for beginners.

  
  

• Rendering Time for Baked Lighting: While baked lighting reduces runtime performance costs, it requires significant pre-rendering time and lacks flexibility for dynamic changes.

'Worry Will Vanish' is a two-channel video that runs in 10-minute cycles . It was created by a Swiss artist named Pipilotti Rist. This video is projected in museums and takes viewers on a sensory journey through the human body.

Debate

For:

• It allows creators to explore their creativity.

• It is easily accessible & Free

• It can be used as B-rolls/stock footage.

Found footage is most commonly used in documentaries with the implication that it is required for educational purposes to allow there audience to see what the narration could be referring to when referring to historic incidents.

Against:

• Copyright

• It will harm other's reputations and image by taking it out of context.

• Invasion of privacy

• Could spread misinformation

  
  

Because found footage is often received and used without the notice of the creator there is a possibility for a disagreement of the use of that footage. Using footage for example, created by a person now dead and using it in a documentary opposite to that individuals views could be considered disrespectful.

There was no constructive criticism at this formative however it was good to be ensured that I was correct in my ways so far. The only criticism was if I would be able to handle this workload and if this project would prove to be too ambitious, in order to make this more reasonable I decided it would be better to also make use of unreal Fab, an connected catalogue of models created by others, for free alongside my own attempts at models. However, I will most likely view those models as a researching attempt rather than focus on using them in the environment itself. That'll be just an additional goal If I find myself having time.

In simple terms: Geometry is the use of nodes to make 'physical' changes whereas Shading is the use of nodes to make 'Textural' changes.

Some basic nodes:

• Distribute Points on face: This node places points on the surface faces of the geometry object. Point, corner, and polygon attributes of the geometry are recorded on the generated points. That also includes vertex weights and UV maps. This will have the input options of:

  
  

  Mesh - Standard Geometry Input. This will be classified as the mesh of the object in the selected scene.

  Selection - Allows the selection of an specific face for distributing points.

• Shader Nodes: Control surface, volume, and displacement properties (e.g., Principled BSDF, Glass, Emission).

• Texture Nodes: Generate or apply bitmap textures, such as Image Texture or Noise Texture.

• Utility Nodes: Manipulate data (e.g., Colour Ramp, MixRGB).

This system enables dynamic material creation that reacts to scene lighting, offering precise control over properties like colour, transparency, reflectivity, and texture placement. The Shading Nodes is important for final compositing and texturing of any model and ensures a higher level of quality.

Some of these shots, such as the bottom left. Were not actually considered in filming, this is because I did not favour the shot enough to consider asking my friend who was assisting me as an actress to crawl. I also could not figure out where the shot of crawling through an vent like area would fit in an sequence of exploration even without narration.

One iconic example of matte painting can be seen in Star Wars: Episode V – The Empire Strikes Back (1980). The film used traditional matte paintings to depict large-scale environments, such as the interior of Cloud City and the Rebel base on Hoth. These matte paintings seamlessly extended the scope of the film's sets, creating vast and immersive locations on a limited budget.

Why Use Matte Painting Over Unreal?

1. Artistic Precision: Matte painting offers precise control over the composition and aesthetic of a scene. It allows me to focus on creating a specific visual style without being limited by real-time rendering constraints or the need to build fully interactive 3D environments.

   
   

2. Efficiency for Static Shots: If my project requires static or semi-static backgrounds, matte painting is a more efficient solution compared to building and rendering complex 3D scenes in Unreal Engine.

   
   

3. Focus on Detail: Matte paintings can incorporate an extraordinary level of detail that might be resource-intensive to achieve in Unreal Engine, particularly for non-interactive elements.

   
   

4. Time and Resources: Unreal Engine requires significant time for scene setup, asset creation, and rendering, especially for photo-realistic results. In contrast, matte painting can achieve similar visual fidelity in less time when the scene does not require real-time interactivity.

Ultimately this will not work for this project due to it's interactivity and use of footage. I believe it would be difficult to create something 3D looking in an interior environment in comparison to Unreal.

Once trying to insert a third-person character to control I realized this scene was too small for an actual model and therefore had to enlarge everything to accurately fit. Looking back at it I wish I made it night-time before the shot and asked for more advice on creating smoke and other effects to give it a more atmospheric feeling.

The trip gave us a chance to closely monitor their facilities and their workflows. We were escorted into their colour suites, where a few of the team members showcased how they were able to produce professional-standard work. They walked us through their workflow processes, offering insights into how different tools are utilized at various stages of production. It was especially fascinating to see how their team integrates these tools to create seamless, polished outcomes. We were permitted to go into the big colour suite for a short time where they were in the process of shooting a feature film. Although our stay in this area was limited due to the sensitive nature of ongoing grading sessions it was a good insight into a fast-paced and highly collaborative environment. What captivated my interest the most was the dedicated spaces for VFX. In these rooms, I observed multiple artists utilizing a diverse range of software, including Maya, Flame, Blender, Nuke, and Houdini.

The visit also included an insightful talk from Ollie, one of their employees in which we could ask as many questions as we’d like. In this session, we were shown how to structure a professional showreel, with him emphasizing the importance of tailoring the reel to the role you’re applying for, showcasing technical skills, creativity, and problem-solving abilities in ways that are both concise and compelling. He also recommended including a mix of individual and collaborative projects, with clear explanations of your specific contributions to group work. Additionally, He advised against overloading the reel with excessive content; and to instead focus on quality over quantity, to ensure that every piece reflects your best work and aligns with industry standards. He also shared advice on maintaining consistency in presentation. This included creating a cohesive narrative throughout the showreel, using professional transitions, and highlighting skills in a way that communicates both your proficiency and potential. He stressed the importance of continuously updating the reel to reflect your evolving skills and experience, especially as the industry is highly dynamic and ever-evolving.

During the session, one of the students asked whether ETC had observed any signs of the "survive until 2025" feeling that other post-houses have mentioned in previous lectures. In response, He shared that, while they had experienced a recent surge in work, they were aware of smaller post-houses struggling significantly, with some facing periods of little to no work. This stark outlook highlighted the growing consolidation within the industry, and he noted that in an attempt to assist others, his company had made an attempt to hire out some of their current work, to other companies to help pay their wages due to the amount of work they have but aren’t seeing in other post-houses currently.

But despite this concerning trend, the team emphasized the importance of adaptability and resilience. He encouraged us to embrace lifelong learning, stay up-to-date with emerging tools and trends, and remain open to exploring new opportunities. They also stressed the value of diversification, advising us to develop skills across multiple disciplines—such as both VFX and colour grading—to enhance versatility and remain competitive in an ever-evolving industry.

One challenge I faced was making the painting look 3D. To solve this, I used a black and white approach, which helped me focus on light and shadow. This made the painting feel more realistic and immersive.

Despite some difficulties, I learned a lot from this experience. By combining my artistic vision with technical skills, I was able to turn a simple idea into a captivating journey that anyone can enjoy.

Employing the CV curve tool to create both the handle and spout, after finding the option in create-curve tools, I proceeded to draw out the basic shape of the spout and then bevel and create element to allow the software to generate the object partially before fixing it up myself.

1. Disable smooth preview [1] to work with the base mesh.

2. Navigate to Help > Mesh and select the first option for smoothing. Ensure to save the original polygon mesh scene for reference.

3. Export the smoothed mesh as an FBX file.

4. Launch Substance Painter.

5. Start a new project using the first template available.

6. Import the FBX file into the Substance Painter project.

   
   

   Substance Painter plays a crucial role in texturing my project, particularly in achieving the desired textures and intricate painted details essential for replicating rust and paint. While I've explored various textures thus far, I may consider experimenting with different textures to better align with my vision and project requirements, possibly going to a more stylised look.

I did this but was told that my computer would not be available for an week, due to the amount of customers around Christmas time so while they did assert they could save my data it would not be in time for this project due date.

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Minimal Reflection - Stating what was done in the edit without deeper analysis

Deeper Reflection - Explaining the techniques used and why they were being used. Did it play a part in telling the story? If so, how? What were the hardships? What went well? Even better ifs?

Minimal Reflection - Stating the process of sound.

Deeper Reflection - Why were these sounds used? Did it help the narrative? What emotions were you trying to bring out through these sounds? Did the audience react the way you anticipated them to?

Minimal Reflection - Stating the use of colour in the project.

Deeper Reflection - What colours were used, and why were they used? What emotions were you trying to bring out using these colours and techniques? What was the purpose of the effects used in this project?

I feel Like this was a valuable lesson that made me reflect more on my writing, I have always tried to add analysis in my writing but often feel like its lacking so having an detailed explanation on what was being looked at helped me and made me reflect more on the smaller pieces of work I accomplish in this project. The questions above have often be useful to refer back to when relevant to allow for more analysis.

To address this, I attempted to resolve the issue during the colour grading stage. However, I was constrained by the colour space limitations and the fact that the orange tones were already burnt into the footage. This left little flexibility for adjustments, preventing me from fully correcting the inconsistencies between the greenscreen footage and the lighting of the digital environment.

Moving forward, I will prioritize matching the lighting of greenscreen footage to the intended scene lighting during filming to minimize these issues. Additionally, better planning for the colour grading process, including ensuring appropriate colour space settings, would allow for greater control and flexibility in post-production. These lessons will help improve the overall cohesion and professionalism of future projects.

This proved to be an suitable hassle which took an day to set straight, with After effects, Unreal and Davinci all being inability use and my internet download speed of only 3mb due to multiple devices in the house. Another set back which lead to limited time to truly create what I wanted.

How is the module going so far?

• I'm liking the assignments a lot and the freedom to work on something that interests me is extremely interesting. In terms of classes, I felt like lectures couldve made more use of the lecture time and we couldve covered a more range of topics. I felt like AI was covered multiple times but with little variety in the subject choice, possibly more technical lectures would be nice.

Are you comfortable driving your project?

• I feel comfortable in deciding what I am doing and trying my hardest to achieve it. However, I do feel often unsure in the deliverables despite the assurance from lecturers it's correct.

Do you feel tutors are supporting you in 1-2-1s? Is there more we could be doing?

• I would like more criticism as often my 1-2-1 were simply just being told I'm doing okay and then moved on. I think more suggestions would've been nice but maybe that's just because I was well planned for them.

Passion Project: What are you delivering?

I'm delivering an 10-20 example of video implementing into unreal via after effects. This will serve as my testing ground for techniques I will use in next semesters project, where I plan to work with other students and friends in creating an short narrative film in a similar environment.