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Final Major Project

FMP – Rendering and Post Production

Through a series of tests, I installed several cameras to find the best angle and composition for my shots. To avoid confusing the viewer, I limited the use of multiple short shots from different angles. I followed the lighting path and placement of objects that I created earlier and used Film Dimensions to maintain consistency across all renders. Additionally, I manually adjusted the focus as necessary to ensure the best possible result.

Camera settings.
Klaus | Learning To Write | Netflix (2019) by Netflix: Behind the Streams. I used this scene as inspiration for my sequence.
Master Sequence set-up. I added Directional Light and Houdini Geometry Caches to it, so that I could animate it.

To achieve a more cinematic and animated look, I followed some general guidelines. I rendered in 24 frames per second and applied the “shooting from shadow” theory. I also added a directional light colour. To keep the scene simple, I did not use many fill lights and rim lights. However, upon reflection, I believe that the interior scene may benefit from even more light sources. Additionally, I set up the Bloom method (PostProcessVolume) to convolution, which adds a nice glowing effect. However, it didn’t show up on the render as strongly as I would like.

Render Settings:

https://cdn.discordapp.com/attachments/914855674666684437/1179872237566836806/IMG-20231128-WA0016.jpg?ex=657b5ca6&is=6568e7a6&hm=8bbca3879efd7414bd71c17442197fd6934261a54b8298439ba3ddc6bd68b115&
PostProcessVolume
Test Render. Most of the scenes were too long and there was no post-production included.

After test rendering, I realized that the scene still lacked the stylization I was hoping to achieve. To improve it, I added a simple outline material to the PostprocessVolume. The result was quite impressive and I intend to use this technique in my future projects.

UE4 | UE5 Tutorial: Outline Material (2022) by Reality Adrift Studio
Outline material nodes.

Post Production

My ultimate goal was to create a dream-like scenery, but due to time constraints, I was unable to render the scene with passes, which resulted in losing some of the effects created in UE5. I am planning to re-render the sequence with passes so that I can properly composite it for my portfolio. In the meantime, I used render settings recommended by Emily to ensure that I still achieved the best possible effects. They were fantastic when I was short on time and helped me create images that were almost identical to those from the real-time view. After that, I simply graded and corrected the colours in Nuke and composited everything in DaVinci Resolve. There, I adjusted the overall grade slightly, added music and wind bell sounds, and tried to create a short, dynamic video. I still need to work on my editing skills, but I think I got close to achieving the trailer feeling from my sequence.

Final colour-corrections in DaVinci.
DaVinci Resolve set-up.

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