No EXR's

Multi-Pass rendering was attempted for the 3D Prop, but for unsolved reasons, the final EXR's did not work for the mace, so a lot more colour correction and grading was used in place of this.

The final step was to write out the footage, both as an Avid DNxHD format for placing finalised clips into the edit, as well as in PNG format to hand the shot to the next compositor. Rotoscopes were also written, which were passed across to the shots that needed the grade. This system in place kept the work flow of the group steady.

Stronger roles were allocated after the green lit presentation, but the group kept a consistent work flow of constant review and reflection, this synergy meant that although more specific roles were given, there was still a cohesive team-working ethic within the group.

The 3D Prop (Mace) was animated within Maya and then placed into the shot using Nuke. Rotoscopes were added to take out the 3D Trackable prop, and when the final grades were added the shots were confirmed and finalised amongst the group

Rotoscopes:

Final Compilation :

When the scenes were tracked in syntheyes, problems were found with the trackable prop. The syntheyes track could not set up an object in the solver due to the software not locating the markers.

The group decided that Maya Ascii scenes would be created, and the 3D object, Turret and Drone to be roto animated within the scene. This would take more work, but potentially be more refined.

The next step was to create a HDRI for the Maya projects once they were tracked, so advanced lighting could be used:

Filming Day

On the filming day, Oliver Bates took charge of the main directing, David Gillie was chosen to be the director of photography, and Jack Smyth recorded the audio, which would later have a possible use for certain lines in the script such as 'Sorry', or background noise.

The filming completed, the next step was to track the footage in Syntheyes, and create Maya Ascii's for the 3D objects to be placed into.

The second track-able 3D prop, the 'Rebar-Mace'

The group decided that the mace should look more natural to the environment and the narrative.

Firstly, the coil was made using a helix, and given a rusty texture, to show that the mace could have been hastily made by the character to survive.

The head of the mace was to be a block of concrete, so it was created, shaped and textured using a concrete texture found, then edited in Photoshop.

To finish the mace, the Rebars were made using cylinders, which was then textured to give the appearance of steel.

The maces final appearance was agreed upon by the group, ready for the next stage of tracking and animating the mace into the footage.

The first 3D Object, the Katana

The first idea for the 3D Prop was a sword. The group chose a Japanese katana as the supposed model before filming.

A reference image was found of a katana, and was then used as the side image and basis for the katana model.

Once the katana was created untextured, it was brought to the group, they agreed upon its look and then asked for it to be textured:

The group would later look over the footage, and agreed that a mace should be created instead, so if the prop does not track, a mace would cover up the markers better.