Recently, I’ve been having trouble opening the scene as it takes about 20 minutes to load the assets. We attempted to reference objects instead of importing them to reduce the project’s size, but Maya keeps redirecting the files to different locations within Elements, so we’ve stuck with importing objects. Additionally, there are issues with people not following the naming conventions and updating one file instead of working in versions. To keep everyone informed, I update the IMPORTANT tab on the Padlet with new information and send urgent updates about the Maya Scene to the group chat.
I frequently monitor the Script Editor to make sure that any scene issues won’t have a negative impact on the final render or cause any critical errors.
I attempted to improve the rendering time by reducing the sampling for the ‘Sun’ Light to 2 from 4. Additionally, I turned off the volumetric shader and primary visibility for the HDRi and side walls. However, we encountered issues with rendering on the render farm and even starting a new project did not fix it. Roos ended up rebuilding the scene, which resolved the problem and reduced the loading time. After that, I checked the object paths, rotation, and textures to ensure they were correct. After consulting Dom, instead of denoising the file with the main Arnold settings, which significantly slows down render time, I adjusted the sampling for each light to eliminate noise without significantly impacting rendering time.
Render with and without the Volumetric Shader. I did not see much difference between them so I decided to not include it in the render settings.
In our collaborative effort, Roos created animations for the room while I focused on the Spaceship animation and added simulations to the scene. We ran several tests to ensure accuracy and had to find ways to work around incorrect naming conventions. Roos also reviewed the models and textures to ensure they were optimized to the best of our ability. To address issues with reflections in the window that were affecting the lighting and appearance, I lowered the IOR on the window glass. This reduced the overwhelming glow but unfortunately made it less textured. Despite this, I decided to keep it at a lower value as a compromise. Additionally, I added another light source with a different colour to provide more illumination on the bookshelf.
Other changes:
Testing the UI. We had to adjust it with alpha map as it was not showing up properly at the beginning.
Lamp test. I slightly adjusted the texture so that the asset would reflect/refract light more effectively.
Adding wood texture to the floor. I used the bookshelf textures to blend it better with the scene.
Testing the plants simulation in the scene.
Despite the difficulties faced this week, it was a relief to see a significant reduction in rendering time. From 6 days of rendering (or not rendering at all), it only took 4 hours and 46 minutes to complete a full beauty render.
This week, I faced some challenges when adding extra models that were not originally planned, but I managed to find suitable positions for them eventually. During a discussion with Dom about the Steampunk project, he highlighted that the two layers of light reflecting off the water were quite complex. To reduce the rendering time, he suggested using a transparent object instead of glass. However, the glass texture created by Jesse has unique decay elements that enhance the scene, especially when viewing the spaceship outside the window. At present, I have decided to keep the glass texture and only modify it if it significantly impacts the rendering time. Another option could be to place the swimming pool on a separate layer. However, when I tried setting up Render Layers, it did not significantly improve the rendering time. Therefore, to make the project easier for compositing, I will render everything in one layer. Later, I might separate it into different scenes instead of having all the master layers in one Maya Project.
Render Layers
We have decided to increase the size of the hologram area and raise it, with the possibility of adding a slight up-and-down motion. The current blue glow from the hologram is too strong and takes away from the overall scene. To fix this, I may adjust the lighting throughout the room. I could also add ventilation points on the walls to provide additional light sources. Additionally, the bounce light and gold hue may take some time to be visible after passing through the hologram, but I can adjust this by animating the Mesh Light to lower the exposure after walking through the asset.
I have added Bounce Lights to the scene and divided it into two zones: before passing through the Hologram and after it. This method helps to maintain the audience’s interest and improve the storytelling. To balance the strong blue hues at the beginning, I have included a subtle warm yellow glow emanating from the left corridor.
Test view without the Hologram Mesh Light
Adding vents to the wall and letting the light source interact with them to create a subtle glow.
I also made adjustments to ensure that the scene was not over-lit, separating the lighting and reviewing walkthrough scene every 10 frames. To improve render time, I began merging AOVs and caching simulations before rendering.
1. Adding window frame.
2. Adding window textures.
3. Adjusting window textures and adding missing textures to the radio.
4. Testing the scene with the light form the Hologram.
Another point of concern was that the walls appeared too clean, lacking texture or small bump maps, which I will add next week. I tested the final sketch layout with updated shaders to determine how they interact with the lighting. However, there are some issues with flickering AOVs that need to be addressed. Additionally, I plan to denoise the scene using the Denoise imager/plug-in.
Lighting session (Maya&Houdini)
Maya:
How is the light going to bounce around the room?
Strong lights (in-studio) should be made out of mesh lights (rectangular mesh).
3-point lighting: one strong light, one soft from the side and one medium from above.
I can make cameras for each light so we can see/control them in viewpoint all at the same time.
DIRECTION, KEY, RIM, BOUNCE LIGHT.
To check the strength of the light, change its colour.
Natural lights always have a slight yellow tint to them.
Use spheres as lighting references (shine/chrome and matte/ai standard surface one).
To have dramatic lighting, don’t overlight the scene (low lights help with shadows, storytelling, etc).- I should lower exposure on the bounce lights in my scene and keep the three key mesh lights.
Start with a black scene, and find the main light.
Before placing assets, add two spheres, set up the lighting and test it on the spheres. I can copy and paste the spheres into the points of interest (inside the scene).
Houdini:
Export Maya files as alembic to Houdini (light, objects, cameras).
Bring textures from other sources as EXRs to Houdini.
Houdini is a lot faster than Maya in everything.
Matte Painting Lecture
Digital matte painting divides into two groups:
Green screen recording with the layered background (from photos/pictures).
In both options you have to be good with Photoshop, as well as pay attention to the lack of parallax. To break apart in depth the image, create layers in Photoshop, and keep the file simple – without groups and too many layers (no adjustment layers). Bake adjustment layer and camera raw onto the layers). Nuke can read PSD files (click on Breakout Layers to see all the separate layers and add premult after shuffle nodes) but they can’t be too complicated. Use Defocus, LightWrap and EdgeBlur nodes after Shuffle/Premult.
Matte Painting set-up (Nuke)
Matchmove set-up (Nuke)
Linking cameras (IMPORTANT: Helps to avoid parallax):
Extract the camera out of the foreground (f.ex.green screen recording).
Track the scene, roto out any key elements and extract the camera from the scene.
Build cards out of layers.
Include focal length in the projection of the camera (Matte Painting section).
3D Scene
2D View
Additional information: Lens-in-focal (card) – vert aperture (camera), Lens-in-harpeture (card) – horiz aperture minus vert aperture (camera). In cards move “Z” to create depth and match the original plate.
This week, I focused on improving the lighting setup and updating assets for the project.
Hologram Mesh Light Tests (intensity)
Placing pipes around the scene.
Light coming from underneath the floor (tests).
Furthermore, I conducted tests on various AOVs, including Depth, ID, Cryptomatte, Z, Coat, Diffuse, Specular direct, and Specular indirect. Some of these AOVs may not be necessary, and I may need to add others. To help speed up rendering time, Gonzalo suggested baking lights in Arnold. However, with frequent changes to the scene, I won’t be able to test this until the project’s completion. I also added overscan to the render settings to accommodate Vitus’ needs for compositing.
Testing GPU vs CPU:
GPU Render
CPU Render
I have noticed some rendering problems with the bookshelf and phone models that we placed first due to incorrect texture setup. I plan to update the bookshelf texture as soon as possible. Additionally, one texture is missing from the phone, and I had to replace the liquid texture of the wine bottle. To expedite the texture updating process, I am utilizing the Repath Files tool.
After receiving an HDRI file, I used it to create a more accurate simulation of the final scene. Since the scene was shot in the evening, it resulted in darker shadows and a yellow undertone. I decided to keep these elements as they added desired soft shadows, but lowered the exposure and established more indirect light by including Bounce Lights and more Area Lights.
I began monitoring the time it takes to render my project and noticed that the first walkthrough render didn’t have HDRI, which made the assets more visible. The master composition version took nine minutes, while the Maya scene took two and a half hours. This week, I concentrated on positioning and tracking assets, so I made only small lighting enhancements.
For the block-out, Dom suggested placing various objects around the scene to keep the audience’s attention wandering. He also proposed creating storyboards (which we should have done from the beginning) to have a clearer vision. Roos, Nira, and I worked together on the storyboards. Afterwards, Roos finalized the file, and I created lighting references to set the mood for the scene.
The spaceship should be revealed outside with each frame to showcase its details and depth, which will pique the audience’s interest. Adding pipes around the room can also enhance the steampunk look. I also started paying more attention to reflections, refractions, and absorptions. Specifically, I’ve been considering specular reflections versus diffuse reflections. The large glass window and glass floor with water underneath may lead to a long rendering time, so I need to come up with alternatives (such as getting rid of glass in the window frame and faking it in Nuke). To play with the colour temperature, I could alter the hue, value, and saturation of the light. Transparent, translucent, and opaque materials in the glass floor can affect the look of the scene by refracting light, so I need to test different options. I should also check subsurface scattering (although we should not have any in the scene) and atmospheric depth.
To create a cohesive composition, I will adhere to the rule of thirds and repeat objects. My focus is on utilizing light to enhance the composition, such as framing the image with shadows. Additionally, I will emphasize the middle ground of the room with the most lighting and incorporate pools of light.
3-point Lighting:
Key light – the sun behind the window builds an area of light and an area of shadows.
Kick light – opposite key light, much softer, softer shadows – fills in some parts of shadows.
Rim light – enhances/separates edges.
Other improvements include:
Gradients of tone, lots of implied lighting and backlighting, more exposure to see some of the bounce light, continuity in the scene (inside/outside the window), focal point/split-second composition, mood and emotion/storytelling (light flows with the story).
I don’t have to make the scene look realistic, I just have to create fantastic believability.
Next week I plan to look into Volume Shaders, Bounce Lights (with Area Lights and Depth Shadows), Light Decay and Atmospheric Glow.
First Light Tests
Testing the ‘Golden Hue” (Main light source – Area Light)
Render v03
FTrack feedback:
Steampunk Project:
That looks fab! well done. Looking forward to see the new version.
Also I’m glad you are taking measures how long time the renders are taking on, considering later on with all the shades and texture will be even more. Now I think 2.5 is looking great.
After receiving feedback on the Matchmove from last week, I decided to retrack the footage (frames after 450). However, I encountered difficulties when trying to track the missing frames due to the lack of distinguishable points. To address this, I tracked more floor points instead of corner points on the right, which were confusing the software. I also added more points on the floor and stairs to improve accuracy. To address the issues with the flat line in Deviation Browser, I had to re-track the points from the right wall in the first frames. I noticed an improvement as the horizon moved closer to the floor. I then adjusted the horizon line further using the move point origin, align points to the three-axis and manually rotated the tracked scene in 3DEquilizer. I exported and tested the scene in Maya to ensure alignment with the Z axis. This made it easier to create block ou and import models, as I only needed to make slight rotations to the assets (the floor plane was completely straight now).
Updated points in the scene.
Adding multiple points at the bottom to stabilise the shot.
Horizon Line
Camera Movement
Aligning the scene with the three axis.
Aligning the scene with the three axis.
Tracked points in the 3D space.
Full Matchmove
I started creating a new Maya project because the old one was no longer accurate after the tracking was updated. To create the actual Steampunk scene, I began by replacing the walls on the right to avoid a cut-off effect in the final frames. For cinematic lighting, I placed the primary light source (‘Sun’) behind the window and tried adjusting reference lighting from the previous block out. A large window on the right, wrapping around the corner, was added to enhance the art deco/steampunk aesthetic. I included a curved wall to maintain soft lines and create an interesting composition. To add more broken light sources, Dom suggested adding window frames and steam or dust particles.
Render v02
Trying to create my own HDRI with the original footage.
We continued working on the Asset Padlet Board, which helped me adjust the block out to the designs created by the Look Dev Artists. Since Roos took over as CG Lead, she has been assisting me with artistic choices and creating block-out references. I also explored the IES Library to recreate light from the footage, but I was unable to find a light type that would work in our Maya Scene. As a result, I used standard Area Lights instead.
Assets Padlet
My section
During the project meeting, we presented our current group work in progress, including the WIPs of our first models and the draft layout of the scene. To help with adjusting asset sizes, I created a naming convention and scale references based on the test scene. Roos created a folder in Elements for everyone to upload their models, which will help me manage the project since I am working on it in the Elements folder due to its large size. Following Gonzalo’s advice, group members were instructed to upload ABC files. However, we later changed this to a MEL file and a source texture folder since ABC doesn’t support textured models.
FTrack feedback:
Steampunk Project:
Looks great! Looking forward to see the next version:)
In the third week of my project, I was assigned to work on the group matchmove task. Dom explained that this task falls under the CG Generalist role, as I will be using a tracked scene in Maya to place all the models in the project. Therefore, it is crucial to ensure that the tracking is detailed and accurate. I plan to use my track for the project, and I am determined to avoid any major mistakes.
To simplify the process of marking the corners, I tracked the back wall points backwards. For the rest of the points, I tracked them using the green reduction and grey image interchangeably, depending on whether I was tracking taped points or distinguishable points (black and white). I focused on tracking the borders of the room, important objects, and architectural details such as stairs, door frames, and framing to achieve the most accurate 3D measurements.
Adjusting the plate
Problematic Points
Problematic Point
The floor had a distinguishable pattern with crevices/cracks between the tiles, which helped me to lay out a more accurate plane and establish the main dimensions. However, due to poor resolution, I was unable to detail the back of the floor as much as the front. Therefore, I primarily focused on the wall/floor linking and corners in these areas. I also marked any areas that would help establish objects in perspective such as the TV, stairs, and railing.
Tracked points
Deviation Browser
Adjusting the Horizont Line
Adjusting 3D Scene
Information for the tracking (3DEquilizer):
Start frame: 0 End frame: 450
Distortion: 0.0760 (recalculate separately) Quartic Distortion: -0.04 (recalculate separately) 3D Equilizer: Original Footage. Maya: Undistorted footage. Nuke: Redistorted footage
In the end: Add cards and geometry to the scene, and place tracking cones on each tracker.
Maya Scene
Nuke Script
Lighting
I conducted a test to track the scene and then created a basic block of the corridor. Next, I added basic spotlights to emulate the lighting from the original footage. Initially, I placed spotlights on the floor and the ceiling to create hard and soft shadows in the room. I faced some problems with the imported tracking points from 3DEquilizer. The angles were not accurate, so I had to manually adjust and rotate each wall to match the correct dimensions. However, if I am unable to fix the scene entirely, I can always retrack it in 3DEquilizer and update the camera and plate separately to ensure it is updated in both Nuke and Maya.
Sorting out the scale of the corridor
Scale of the recorded corridor
Lighting Block-out (tests)
After receiving feedback on Wednesday, I addressed the issue of the shaking image in Nuke by adding more points in the corner, especially on the right side behind the table. To achieve more artistic lighting, Dom suggested that direct sunlight is tricky to capture on camera, and I should aim for an artistic or concept art-like look instead. Therefore, I need to pay attention to basic penumbra cast shadows, mid-tones, and specular highlights. Ambient shadows can help with reflected light, as drawing light requires creating shadows first. Additionally, I will communicate with the Look Dev artists about their textures or adjust them myself after importing them into the scene, as the way light reflects depends on the materials.
Test block-out: I created models to place the around the scene.
To better understand the scale, we took a photograph of a person standing in the corridor and recreated the scene in Maya.
Test Render
FTrack feedback:
Matchmove:
Looking really good. Please can you do the full range shoot until the edn(last frame).
Slip at the end, please add more points at the end.
Steampunk Project:
Please can you improve the light matching the original light from the plate, specially the spot light on the walls.
Shadows need more work matching the plate, too hard.
Please next version can we have a full video QT with a layout where the assets will be, position and size.
You can use boxes in the mean time while you get assets.
To start our group project, we need to do the matchmove for the scene. In the Matchmove lecture, we had opportunity to use 3D Equaliser to track the camera movement and lens distortion of a scene. We also learned how to export the scene to Maya and Nuke.
In film production, camera tracking is used to replicate the camera’s movements and lens distortions from a previously shot scene. With this technique, we can seamlessly add computer-generated elements to the footage. Compared to Maya, 3D Equilizer is a more precise tool that creates fewer complications and allows for more precise placement of points within the scene. Additionally, it allows us to accurately simulate different camera and lens settings.
Working with the 3D Equilizer:
Import the footage.
Adjust lighting, gamma and contrast.
Contrasty area corners are always good to track.
Track the points.
Calculate All From Scratch (Alt+C).
Our next step is to clean up by eliminating any faulty tracking points and adding more if necessary. This involves flattening the curve in the Deviation Browser and ensuring that all tracking points are within the shot. Additionally, we need to include specific camera lens details, such as distortion, and recalculate the points. Once this is complete, we can generate meshes in 3D Equilizer and export the scene to both Maya and Nuke.
Tracking Corner Points
High contrast
Difficult points – larger tracking field
Deviation Browser
Deviation Browser
Mesh Generating
More instructions:
Distortion grid:
Shoot it with you plate.
Use same lens and settings.
LensDistortion – analyses the source, calculates it using the grid/straight line information and tries to undistort the shot.
Redistort (LensDistortion>Mode) – back to original source (distorted view).
STMap (LensDistortion>Mode) – Exporting information using UV Maps. It’ll make a new layer, useful in 3D work in Nuke.
Whenever we’re doing matchmove/working in the 3D, the source image/video has to come undistorted and then we distort it back.
Edit>Preferences>Viewer Handles – It can change 3D navigation to Maya.
Precomp: Denoise>Save the shot (Export the denoised shot.)>The shot can be used again later.
Matchmove: CameraTracker Node.
Roto out any extra moving elements (could be even a water puddle on the street) and connect it to CameraTracker with mask.
This week, the Look Dev Artists began dividing assets and selecting a specific design. To assist them with textures, overall mood, and consistency throughout the scene, I created colour palettes. I chose colours commonly associated with steampunk, such as brown and gold, and included a special colour, red, which was chosen by the group in our group chat. The red colour adds vibrancy to the scene and helps to connect the models more closely.
Colour Palette (Research)
Colour Palette (Moodboard)
Colour Palette (Research)
Colour Palette (Final 01)
Colour Palette (Final 02)
Bibliography:
3DEquilizer (2020) 3DEqualizer4 [basic] – 2D Tracking: Part 1. Available at: https://www.youtube.com/watch?v=_bMpEa9cyU8 (Accessed: 17 April 2023).
3DEquilizer (2020) 3DEqualizer4 [advanced] – 2D Tracking: Part 2. Available at: https://www.youtube.com/watch?v=OJ8ysGX6lVo&t=1101s (Accessed: 17 April 2023).
The purpose of this project is to loosely mimic the workings of a production studio. Our task is work with the footage of a corridor filmed inside LCC and to make it look like the inside of a sci-fi spaceship.
When choosing which group to join between Low-fi, Cyberpunk, and Steampunk, I opted for Steampunk because it aligns with my preferred style of intricate designs and moody lighting. My objective is to secure a CG Generalist role, with a focus on improving my lighting skills and acquiring new ones throughout the project. Handling various assets in Maya presents an exciting challenge, and I am committed to creating the best possible composition for the scene.
One of the groups was eliminated and the members were divided between two other groups due to the lack of interest in Cyberpunk style. Although this provides us with more Look Dev Artists, it may cause challenges for me when adding more models to the scene later on. I am especially worried about the render time and quality. However, I am hopeful that it will be manageable, and I am prepared to make adjustments to the project as necessary.
Steampunk Group Members
After finalizing our group members, we created a moodboard to clarify the style we wanted to achieve for our Steampunk project. There are two main styles in Steampunk: one with an industrial focus and the other with an Art Deco influence. Since most of us were interested in creating highly detailed models, we decided to go for a polished look. I included references from Dishonored 2 in the moodboard because it features exceptional industrial style and various unique concepts. Additionally, the game’s lighting is soft but cinematic.
Dishonored 2
Steampunk Moodboard
References for Lighting:
David Alvarez (2015). Assassin’s Creed Syndicate /// Assassination wall. Available at: https://www.artstation.com/artwork/JEDXv (Accessed: 24 April 2023).
Joan Piqué Llorens (2015). Steampunk Restaurant. Available at: https://www.artstation.com/artwork/wPx59 (Accessed: 24 April 2023).
Karim Abou Shousha (2016). The history of world. Available at: https://www.artstation.com/artwork/EJ32q (Accessed: 24 April 2023).
Kevin Gnutzmans (2022). Classroom. Available at: https://www.artstation.com/artwork/QnGXkr (Accessed: 24 April 2023).
Leopoldo D’Angelo (2022). Leap of Faith. Available at: https://www.artstation.com/artwork/JEDXv (Accessed: 24 April 2023).
Leopoldo D’Angelo (2021). Peaceground. Available at: https://www.artstation.com/artwork/nY6O9o (Accessed: 24 April 2023).
Leopoldo D’Angelo (2023). The Big Glass Eye. Available at: https://www.artstation.com/artwork/ZeKG48 (Accessed: 24 April 2023).
Stefania Hernandez (2021). Hitman 3 : Dartmoor Lighting. Available at: https://www.artstation.com/artwork/Aq4G8V (Accessed: 24 April 2023).
CG Generalist/Lighter: The job role is to collect and import all the assets from the rest of the modelling crew, organize it and assemble it into the scene. I will need it to light it and create renders, trying to match the plate. I will also need to update assets in the scene after every iteration comes in. e.g: I am given an updated model.
The Generalist is expected to be a strong all rounder with broad knowledge of the entire VFX pipeline though they will have varying levels of knowledge in certain areas. They often have in depth knowledge of the CG assets creation pipeline (Modelling, Texturing and Lighting). They are experienced artists who can learn on the job while delivering to a high standard. They are usually not technical specialists and are generally not concerned with more specialised technical requirements such as scalability, reusability, and pipeline efficiency.
Will have in-depth knowledge of how to create clean and efficient models, UV, texture and Light scenes.
Can work efficiently and to a high standard across multiple CG tasks. Will often be responsible for an entire shot or even sequence of shots from conception to delivery.
Not considered a specialist but can learn effectively on job and will turn their hand to most CG tasks.
Works with the CG Supervisor and VFX Supervisor to ensure that all artistic and technical requirements are satisfied.
Will optimise, refine and correct shots to satisfy the artistic requirements of the Supervisor(s)/Client.
Will have expertise in software across the VFX pipeline and good knowledge of most CG disciplines, though this may vary in some areas.
Will use multiple software, be adaptable and willing to learn new programs.
Show reel and production experience are very important for this role.
Role overview:
Inside ILM | To be a Generalist by Industrial Light & Magic (2022)
CG Generalist Requirements:
Organize asset in a single folder.
Use name convention.
Reduce the number of faces in the model to make it easier to render.
All textures should be placed in a single folder, with names that correspond to the textures they represent (such as bump maps, etc.).
Make sure to work with proper UV’s.
Lighting process:
Shot overview: examining the plate and lighting.
Create an IBL from the footage.
Line up the IBL with the footage.
Add AOV’s for VFX.
First test render with just the IBL.
Create a ground projection light.
Set up camera projection based light.
Test render with ground mesh light (projection light).
Create a light group for separating lights.
Test render with 3 lights in the scene.
Create an aim controller for a light.
Compare all the renders.
VFX Lighting Basics: Blocking Out Set Lighting Step By Step Tutorial by VFX Tutors (2021)
Bibliography:
Industrial Light & Magic (2022) Inside ILM | To be a Generalist. Available at: https://www.youtube.com/watch?v=nNZgG8htns0 (Accessed: 26 April 2023).
VFX Tutors (2021) VFX Lighting Basics: Blocking Out Set Lighting Step By Step Tutorial. Available at: https://www.youtube.com/watch?v=dpL3dTXzU90 (Accessed: 28 April 2023).
Preparing for implementing Niagara Systems into the scene:
Adjusting SkyLight.
Adjusting SkyAtmosphere with Rayleigh Scattering Scale and Mie Scattering Scale, Nie Absorption Scale.
Keeping project organised with folder layers. The first system was too intense so I opted for standard sprite rendered and adjusted these options instead.
I opted for the flare material to keep the soft dreamy vibe.
I utilized Unreal Engine’s Niagara visual effects system to generate and view particle effects in real-time. Since it is the key tool for visual effects (VFX) in Unreal Engine 5, I opted to use it for the Emitter System.
In my opinion, the initial simulation was too fast for the small landscape and created too much noise, which didn’t fit the dreamy scenery. Therefore, I chose to discard it and use a simpler but more appropriate Sprite Renderer system.
Let’s build this Unreal Niagara particle sim within 6 minutes by Sem Schreuder (2020). I had to adjust this tutorial to the Unreal Engine 5.0.3 version.
Customised Niagara System (discarded).
Sprite Renderer System (with the flare material).
After finishing the particle system, I turned my attention to the weather system. I was able to create a basic rain sequence, but unfortunately, it would have required adjusting all of the textures throughout the scene to properly animate. Given that I only had less than a week left and the file contained too many items with different textures, I ultimately did not have time to make those adjustments.
Instead of using the default weather effects, I decided to use the Ultra Dynamic Sky plug-in. This required me to adjust the lighting of the scene, resulting in multiple renders with different lighting conditions. However, simply adding weather effects was a simple and clear process. Given more time, I would have customized the effects further, but due to the complexity of the task, I decided to stick to the basic options.
I observed that the fog and dust simulations were malfunctioning, making it impossible to use them. They were either not visible at all or would cause the screen to crash. I believe this issue is also affecting the Niagara System, as they share the same base. Although the small landscape plane has helped in organizing the scene, it is not sufficient for the particle system to function correctly. Hence, I will test the settings in another scene with more space.
Afterwards, I placed three cameras in specific locations and used Film Dimensions to maintain a consistent look across all three renders. I adjusted the render settings and created a level sequence and movie render queue. Finally, I rendered 120 frames for each location.
Camera placement and Level Sequence
I needed to color-correct the files in Nuke before finalizing everything. Though I wished to add more post-production effects, I lacked the time. However, I plan to rerender the scene with adjusted lighting and incorporate more effects.
After watching multiple tutorials, I decided to avoid baked lighting and chose to use raytracing instead. This method works well with Unreal Engine 5. At first, the lighting seemed lacking, but I was able to enhance it by incorporating Global Illumination and authentic Ambient Occlusion.
In addition, I made sure that all the Project Settings are fine (DirectX 12 is on, Dynamic Global Illumination Method is set to Lumen, Ray Lighting Mode is set to Surface Cache, Software Ray Tracing Method is on Detail Tracing, Shadow Map Method is using Virtual Shadow Maps, Support Hardware Ray Tracing is on and Use Hardware Ray Tracing is enabled).
Next, I worked on the textures to make sure that the materials aren’t too dark and that they reflect enough light. Additionally, I converted all assets that could be converted to Nanite, as they perform better in that format with Lumen.
Nanite View
To improve the quality of my visuals, I made some adjustments in the settings of the Post Process Volume. Firstly, I set the infinite extent to unbound and disable auto exposure by changing the Metering Mode to Manual and turning off Apply Physical Camera Exposure. Then, I manually adjusted the exposure compensation through the Post Process Volume. Finally, I worked on enhancing the Volumetric Fog and Volumetric Scattering Intensity.
Directional Light settings
Adjusting PostProcessVolume settings.
One of my primary concerns was how to achieve soft shadows by paying attention to shadow penumbra. I learned that larger light sources create softer shadows, so I created a large sun and diffused the light through clouds. To enhance the cinematic effect, I added Godrays and adjusted the scattering distribution in the volumetric fog, giving me more control over the scene’s art direction.
Godrays and Bloom effect in the scene add unreal aesthetic to it.
Using Lumen with automatic bounce lights made my work easier. Dynamic Lighting allowed me to work with what I saw on the screen, which was a reflection of rendered light, and it was straightforward to use. Additionally, I created four lighting spheres to check the lighting.
After revisiting the scene, I adjusted the lighting in more detail by modifying each individual component and then testing them all together.
Adjusting the Colour Temperature in the PostProcessVolume (Colour Grading), Chromatic aberration, and Vignette.
Changing Fog Density and the Extinction scale.
Generate Mesh Distance Fields set on in the Project Settings.
To improve the overall aesthetic of the scene, I considered using colour lights to create a more cinematic look through enhanced colour bleeding. However, I ultimately decided to keep things simple for now. Instead, I focused on creating soft, indirect shadows and adding depth to the scene through the use of out-of-focus foreground and midground elements.
Adjust the sky color with Directional Light to achieve a more stylised/cinematic look.
I installed Rect Light fixtures around the mansion to produce a gentle, diffused light. By casting Ray Traced shadows and adjusting the indirect lighting intensity, I was able to create the desired effect. Additionally, I modified the Volumetric Scattering Intensity to produce a subtle haze.
Rect Lights helping with the indirect lighting.
Towards the end of the project, I realized that I wouldn’t be able to fully achieve my vision. As a result, instead of making custom prop lights, I decided to go for a simple sphere with a flare material that I had previously used for the Niagara system. I also incorporated the same type of foliage that was used outside, and inside the mansion, and this helped to unify all three environments.
To create a more cinematic/animated look, I followed some general rules such as rendering in 24fps and using the shooting from shadow theory. I also added directional light colour. I chose not to use fill lights and rim lights to keep the scene simple, but upon reflection, I believe that the interior scene may benefit from additional lighting. In particular, I should have placed lighting actors behind the statue in Sequence 3 and inside the Modular Palace. Without these lights, the scene appears a bit flat, but I think that adding fog settings and post-production in Nuke could help improve the overall look. Additionally, I set up the Bloom (PostProcessVolume) method to convolution, which adds a nice glow effect, but it doesn’t show up on the render as strongly as I would like. My ultimate goal is to create a dream-like scenery, but I am concerned that without compositing, I won’t be able to render the scene as seen in Unreal Engine.
