greenscreen « Bryan Ray, Visual Effects Artist

June 18, 2010

Solar Expeditions Cruise Lines

Filed under: 3d Modeling, Compositing, Environments, Graphic Design, Object and Vehicle Design, Photoshop, Video & Animation — Tags: 3d tracking, After Effects, alexis tomashosky, animating, anyul garza, CG Textures, cgtextures, compositing, cruise ship, earth, editing, effects, environment, fluids, flying rig, Graphic Design, greenscreen, gustav holst, illustrator, jessica, jessica ray, jupiter, kat michels, keying, lighting, logo, mars, matchmoving, matte painting, maya, modeling, motion tracking, NASA, nuke, ognian bozikov, particles, PFTrack, planets, premiere, production studio, ruth mentzer, saturn, ship, shuttle, sky, solar expeditions, solar system, soundbooth, space ship, stars, sun, textures, texturing, tracking, twitch, vfx, video, video copilot, visual effects — Bryan @ 9:33 pm

My Production Studio I team produced a set of four television ads for an interplanetary cruise line:

Solar Expeditions 60 second ad from Bryan Ray on Vimeo.

The team consisted of me, Alexis Tomashosky, Anyul Garza, and Ruth Mentzer. Breakdowns by shot follow:

Shot 1, Liftoff: Matte painting constructed in Adobe Photoshop CS4 by Bryan Ray using elements provided by NASA (the launch pad), and cgtextures.com (several sky photographs). The shuttle was modeled in Autodesk Maya (versions 2008 – 2010) by Ruth Mentzer and textured with Maya and Photoshop by Bryan. Animation, fluid simulation, particle effects in Maya and compositing in The Foundry Nuke by Bryan.

Shot 2, Leaving the Earth: Earth texture provided by NASA. Earth and stars modeled and textured in Maya by Bryan. Cruise ship modeled in Maya by Ruth and textured (so to speak—really just simple materials) in Maya by Bryan. Animation and atmosphere effect by Alexis Tomashosky in Maya. Composited in Nuke by Alexis. Greenscreen footage keyed by Anyul Garza and Alexis in Nuke and Adobe After Effects. Shuttle as above.

Shot 3, the Lobby: Lobby modeled in Maya by Ruth and Alexis. Textured and lit in same by Alexis. Keying in After Effects and 3d tracking in PFTrack by Anyul. Map element by Bryan. Alexis composited in Nuke.

Shot 4, the Map: Modeling, texturing, lighting, fluid effects and animation in Maya by Bryan.

Shot 5, Orbiting Jupiter: Jupiter and stars modeled and textured in Maya by Bryan. Animation and engine effects in Maya by Bryan. Composited in Nuke by Bryan. Cruise ship as above.

Shot 6, Cabin: Room modeled and textured by Alexis and Bryan in Maya. Greenscreen footage keyed in After Effects by Anyul. Matte painting created in Maya by Bryan. Hologram animated in Maya and After Effects (+ Video Copilot’s Twitch plug-in) by Bryan and composited in Nuke.

Shot 7, Dining: Keying in After Effects and 3d tracking in PFTrack by Anyul. Modeling in Maya by Bryan and Ruth. Texturing and lighting in Maya and compositing in Nuke by Ruth.

Shot 8, Sun Deck: Sun model, texture, and fluid simulation in Maya by Bryan. Deck modeled and textured in Maya by Ruth. Keying in After Effects and tracking in PFTrack by Anyul. Rotoscoping in After Effects and Nuke by Ruth and Anyul. Compositing in Nuke by Ruth.

Shot 9, Freefall Room: Keying in After Effects by Anyul. Modeling in Maya by Alexis. Lighting in Maya by Alexis, Anyul, and instructor Ognian Bozikov. Compositing by Anyul in Nuke. Flying rig by Daniel Mentzer.

Shot 10, Logo: Mars and stars modeled and textured in Maya by Bryan Ray. Animation and compositing in Nuke by Anyul. Logo created in Adobe Illustrator by Bryan. Additional compositing in After Effects by Bryan. Cruise ship as above.

Screen talent: Alexis, Bryan, Kat Michels, Todd Judd, Vince Chowdhury, Tasha Muhammad, and Marcus Porter.

Music: “Jupiter” from The Planets Suite composed by Gustav Holst and mutilated in Adobe Soundbooth and Premiere by Bryan. Voice over by Jessica Ray and recorded in Soundbooth by Bryan. Sound effects from an unknown library that’s been kicking around on one of my hard drives for years. Audio mastering by Anyul and Bryan

Editing by Ruth and Bryan in After Effects and Premiere. Special technical support by instructor Ognian Bozikov.

Thanks to the Art Institute of Colorado for the use of a Panasonic HVX200 camera, greenscreen stage, video studio, portable greenscreen kit, and the 60+ Macintosh computers we used for rendering on the weekends.

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December 18, 2009

Jessica climbs Everest

Filed under: Compositing, Environments, Video & Animation — Tags: chroma key, chroma keying, climb, color correction, color correction and keying, compositing, greenscreen, ian morrell, jessica, key, keying, matte painting, mountain, mountain climbing, nuke, vfx, visual effects — Bryan @ 1:05 am

Not really, of course. This is my Color Correction & Keying final. Thanks go to my wife for once again generously agreeing to take part in the shot.

I used Nuke for both the keying and compositing, the video was shot with a Panasonic HVX200, and the backplate with a Canon Rebel XT. Thanks to Ian Morrell for the use of his portable greenscreen.

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August 6, 2009

What Goes Around Comes Around

Filed under: Video & Animation — Tags: acid, After Effects, artificial, candle, compositing, consequences, demon, editing, effects, FX, golem, greenscreen, Intermediate editing, James Felix, premiere, simulacrum, sorcerer, vfx, video, visual effects — Bryan @ 3:44 pm

Intermediate Editing. Shot on a Panasonic DVX-100a in my apartment and the Art Institute’s greenscreen studio. Edited in Adobe Premiere Pro CS4, effects and mastering in After Effects CS4, and audio in Sony Acid Pro 4.

For this project, the class collectively came up with the title “What Goes Around Comes Around.” Then we each wrote down an adjective and randomly drew the words from a hat to give us a guiding theme for our videos. I drew “artificial.”

I had a very limited amount of time to accomplish my shooting, since I could only get into the studio for about three hours, and I hadn’t shot any of my empty plates yet, so I didn’t have camera angle and focal length data. I think I accomplished what I was after, though, for the most part. I think my shot composition is improving rapidly, but I need to set aside time for storyboarding next time.

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