3D Modelling and RSP Comp and Tracking

One of my favourite projects I have worked on! This Flat 6 engine belongs to a Porsche GT3 RS 992.1. This was one of the longest projects I have completed coming around an estimated 1-2 months of Research/Planning/Modelling/Animating/Testing. As I didn't know much about how engines worked, I was curious - so I decided to model one to learn more about them. After modelling the Porsche GT3 RS itself, I decided I would take a crack at it's engine. Whilst looking back, I notice some topological improvements to be made but I am quite pleased with the outcome of my hard-surface modelling. Modelling various componentry such as valves, cogs, piston heads, etc. improved my modelling dramatically, but also my understanding of how they functioned. Trying to make the model as accurate as possible was quite daunting. The research phase was gathering many images and blueprints of the engine to try and map out where every component should be placed, but also how they interacted with other components. In modelling, I believe it important that whether fiction or non-fictional, if you are modelling mechanisms they must work together properly. This engine was build with as little creative liberty as possible.

The bonfire coiled sword from the Dark Souls Trilogy. I Modelled/Textured/Simulated this in about 5 hours as a short project in-between some of my larger projects. Quite a simple project but elevated by good texturing and smart usage of 2D image planes for the fire. The best looking fire is actual fire! 

Based off of the Anti-matter engine from the Space Exploration mod for Factorio. It was quite the challenge modelling something that was originally 2D, especially because of the isometric nature of the game, I could only ever get one angle of the engine, so a little creative liberty was needed to fill in the blanks. Overall, I am quite pleased at how it turned out. The model features lots of smaller simpler components coming together to form quite a complex object. The thrusters are a combination of 8 image planes rotated within each other, each with the same emissive thruster texture to make the illusion of a cylindrical flame. 

A collection of my work whilst studying the Comp and Tracking course at Rising Sun Pictures as a part of my UniSA Film and Television degree. Whilst I do intend to pursue modelling as a career, I found learning these 2D skills invaluable to my 3D work. With a very strong grasp on Nuke after leaving the course, I can now make my 3D shots look better than ever and now even integrate them over 2D footage seamlessly. 

Within the course I learn Rotoscoping, Tracking and Layout, and Compositing. These three clips are the sum of my student projects. 

Rotoscoping: The rotoscoping on my shot was quite difficult. People often say that the less a person moves, the easier it is to roto them, however this isn't always the case. Trying to track the subtle idle movements on a person when they are still, is actually quite challenging! I especially had trouble with the perspective change on his hands when he bends down. 

Tracking and Layout: Tracking this shot was not as easy as it looks. Whilst it wasn't because I had to stare at this guy dancing for hours on end, but because 3DEqualizer struggled with the parallax in this shot and the missing inclusion of a LiDAR scan, I had to track 100's of points in order for the camera to function properly. Modelling the proxy geometry was definitely the easiest part as I got to incorporate my skills using Maya and my memory of it's hotkeys to blast through the modelling stage. 

Compositing: If I was to strive for any field within 2D, it would definitely have to be Compositing. The course exponentially improved my compositing skills and made me love using Nuke. For this student project, a culmination of all our skills were required for this final group assessment. I was responsible for this shot in particular, as well as creating the effects seen (the collar on the soldier, the effect on the girls hand) and sending them to the other members in my group to incorporate them into their own shots. The most important aspect of compositing isn't the flashy effects, but making them seamlessly integrate into the scene to look like they were actually there. This includes needing to relight the girl's hand, sleeve and hair, as well as the soldier's face, helmet and vest. The girl's powers were created by using stock bonfire footage to drive the noise distortion to the plate to create the heat shiver effect, then re-grading the fire to be purple.