In the other two project, I would use a chrome ball to create the indirect light. The problem with using the chrome ball is that I'd also be capturing all the scratches and dints that would be seen in the render. For this project, I borrowed my professor's Pano head.
This pano head was really helpful in getting good increments. My one issue was with how heavy it was. As I would rotate the camera around, the tripod's head would slowly start to weigh forward or back. I was also orginial going to do a pan but I couldn't produce the same smoothness as if the pano head was off.
When if came to stitching the images together, I discovered that there was a way to do it in both Photoshop and Lightroom. Both softwares have an image limit of 100 and I took 124 images. I choose to use Lightroom because I can actually see which images I am selecting. In Photoshop, I only see the file name.
Unfortunately, creating the panorama takes a lot of memory (something my computer lacks) and time. I think it took about 5 hours for my computer to bring back this image, but when checking the resolution, I understand why. The resolution is 31,396 x 3859!
The final in this class is all about using compositing in an animated character into a live action plate. So, I have this rigged Storm Trooper I plan on using in combination with some old motion capture data. My idea is to have the Storm Trooper running through the scene.
Render Settings & Time
This shader got out of hand quickly. There are so many little details in my stone, but I decided one only focusing on 4 aspects. I created a purple, white, and grey shader, and separated the glossy coat in a separate aiStandardSurface. I used AiMixShaders with a ramp or noise in the mix settings. After putting all of these together, I have created what you see below.
Composite In Nuke
A number of things happened in this render. The main one being that I rendered the reflection of the instant film in with the main shader. I did this to save on render time and adding another layer. I have figured out how to mask just the reflection, but this mask also takes away the geometry. Guess I will be seperating that into a new layer.
Another issue is that when rendering several Mix Shaders put together while as trying to use those with AOV's, Arnold has a hard recognizing the differences between transmission, and subsurface scattering. The way around this is by separating each of those shaders into their own layer and composite them back in nuke. To get the masks to work, I'll have to create another layer and use a surface shader.
This match is nearly perfect by ways of lighting. The main difference between the two is the bounce light coming from the notebook and onto the sphere. I did create a render layer for the bounce, but where the light hit the spheres is a little off. The simplest reason behind this could be where the sphere is in space compared to where is was in reality.
This was a weird compositing issue. When I comped my sphere onto the background, I was met with this weird ghosting effect. For this set up, I used AOV's instead of using render layers like in the last project. The only AOV's for the sphere are the diffuse direct and indirect, and specular direct and indirect.
Turn out, that this is a weird alpha issue. The way around to fix it, is by using Nuke's Copy alpha node. I plugged 'A' into the imported file because it has the proper alpha. I plug 'B' into the last node after all the layers have been merged. I finally continue compositing the rest of the layers after that node.