My Onset VFX Supervisor Gear - Part Two

[Music] this video is brought to you by photogenic by Ben Q please check out this Facebook page for the latest news videos and articles about photography and so much more and the other thing as well is you should look into an application called reality capture it's from a company called capturing reality is the most advanced software I've ever seen of photogrammetry basically you just take hundreds of photos of the same object and it literally I mean a kid you not this is real literally makes a really accurate 3d model out of those photos you will not use it for 3d but you will definitely use it for tracking and to help you and also to use it as a reference so it can build full geometry you see all these little dots here these are all the camera angles so basically what you do is you have your cameron burst just keep taking photos around the object we keep rose around the object then you take photos lower anything for is higher and then it take for us on this side of course put the camera on JPEG because if you put it on raw your you you will never leave that you'll have like 300 gigs of photos I mean I would say a few like a hundred because you yeah because you need to kind of you need to do a 360 around the object and then you also need to do a 360 a bit higher and it's wrist is a bit lower the more information you give them the better and so you always need to of course have the focal on the same place you don't need to change you know change the lens so if you set it with a 24 millieu keep it with a 24 mil and you just go around the object and then you also should do a few closer ones a few more far away ones the more photos you give them the better but of course it's gonna take forever to process it could take hours to do the model so it could be really dense for nothing so you have to be careful that moving on now to the digital world these are the applications I usually tend to use on my iPhone or iPad I'll go through them one by one don't worry so these are all the things that I usually use inside my computer so and of course the ones the custom ones as well like the compass and the calculator and the torch and so Emily's going to talk about the ones that I'm not gonna talk about so the ones I'm not gonna talk about is that you should definitely get this one the 360 360 basically allows you to just pick up the phone and just do this and it makes it 360 lately I haven't been using it that much because now I have a tattoo like the 360 camera so I don't use it that much and the other one that I'm not going to talk about this you should always have a very Evernote because you can then write notes and they get synchronized to the cloud should always have time buddy because it tells you the time zones of all the world and I also have things so that I can have warnings of what things to do and I also use the compass I use the torch to light up stuff Nathalie net analyzer so you can find Wi-Fi I always do that so if we can start to find the strongest Wi-Fi connection if you have several to choose from speedify is that application that I told you before where you can bind wi-fi's together so if you find the Wi-Fi from Starbucks and the Wi-Fi from the coffee next door you can bind them together as one and then becomes twice as fast so it's a really nice application to do that so sorry for this my favorite one my mattress pro so my mattress pro basically does this so whenever I go and set take a photo and then I can just write the measurements of course I took the measurements of course I took the magic and then I can just right on top of them it has all these little tools to make arrows to make like you know it's really fast for you to just write stuff out using your iPhone these are all photos from the God Only Knows on set supervision that I did so I did all the measurements like this I like this one I have no idea so I can put the dolly size I can put all these things I can also have the lens tilt was this and then all the distance to the different objects this was for a Burberry commercial and also of course the implementer inside the phone if you don't have one you can use the iPhone one and the Tolan assistant is really good because it allows you to actually calculate you know the actual what's name the sizes of lenses well this'll I'm repeating a lot of these applications actually maybe don't get this one because it's too expensive maybe get instead the next one I'm gonna show you this one is the light spectrum Pro this allows you to just see the temperature onset so you just photo like use your iPhone point to it it gives you the Kelvin of that location which is really good for you to just check the core temperature and then I have this which is the Sun keeper Sun keeper basically allows you to take a photo and in augmented reality see where the Sun is and also see where it will be so then I can see okay then at five o'clock the Sun is gonna be over there or at three o'clock it will be over there it actually gives you a full augmented reality graphic of the Sun where it's gonna land where it will be opening up so when you're on set you know okay the Sun is actually gonna come from there or the Senate is actually gonna come from there it has all those informations and I use this application P cam the P cam is an application it has a lot of sub applications so you basically have that the field calculators aperture finders focal length matchers triangulation running time - link like if you want to see how a time-lapse should look you can calculate it from here you can actually see the focus distance you know you can triangulate objects I mean it's it's really a helpful application it has a lot more than this and I also would recommend you to get Artemis Artemis viewfinder so Artemis viewfinder basically makes if you find a virtual viewfinder and this viewfinder has all my lenses so you can go in and put your specific lenses so I have my Canon lenses here and so through my iPhone I can see exactly how a framing of a lens of a 300 should look like you can either see all the photos like this with all the graphics or it can actually zoom in to those and it could crop in so then I know of course the iPhone minimum is a 19 it can't do lower than that so if I want to use my 18 millimeter I can't but then you see if this is the framing for the 24 this is the crop factor for the 45 the crop fighting for the 50 for the 85 and for the 300 you can have it viewed like this or you can actually have it viewed cropped as well so this is a really powerful application for you to focus on framing of stuff if you want to know what your lenses are capable of doing especially when you're doing the tech scout and you're not with your lenses yet you're just doing this tech scout to check stuff if you don't have money to have a real light real light meter if you don't have a because they're quite expensive you can get an iPhone line meter so if you buy the lux adapter which is like 40 quid you can use your iPhone as a light meter it's called look-see and why do I want to see the values because a lot of times I'm doing my own photos for textures and I'm doing my own photos for references or my own photos for stitching or format paintings a lot of times VFX supervising is not actually being on the shoot it's actually taking your own photos for your own map paintings in for our own extensions or for example if you want to do a set extension of a city you have to go to the city and take all your photos so I do the light meter so I can make sure that I am pulling the correct exposure on all the photos that's why so being a visual effects supervisor you cannot get away from the fact that you have to be a photographer there's just no way around it knowing photography as a visual effects supervisor is super important so that you really know how to handle the camera and how to do all these things I also use this application I can't remember the name of it this I think it's called the effects track or something about basically it's a tracking application you can put on the phone so when you're photographing a bunch of people with phones you can put that application install there and you have tracking markers on the phone it also allows you to put a tab or so if you click on it it shows up another marker where the finger is so it's really cool for that I can check the name I forgot the name of that also I use light I use Lightroom on my iPhone so I can actually just take photos and expose them and send them and basically control the photos on my phone when you're waiting on set you can always gets in effects for the iPad then you can read some visual effects making ups while they're waiting so I always take all of my collection of sin effects magazines all a hundred and forty two of them in my iPad I have an iPad just for that just to read sand effects and I don't even use it for anything else except reading effects magazines it has all of them you can buy all of the latest sin effects there also I would recommend a department head application which allows you to actually make a full database of a shoot like what you shot during the night which shot you in the morning but actually the best one is this one is the satellite I know it looks like misspelled but it's not misspelled it's called satellite I guess or sit sit sit till 8:00 I don't know I don't know what their I don't really know what they're trying to do there but anyway this application allows you to do this this is a non set report it's a PDF that you can give the client this comes out of that up question so this is where this was a commercial that that we did at the mill and we see here that the supervisor was Leo it was done by the mill it was used with the epic red camera this was the producer and then you have the f-stops of all the lenses and then you have all the shots and basically it's a it's a it's an application for you to track all the information and then it spits out the PDF like an on-set PDF of everything that you shot so it's a really good way for you to put your notes in a real thing then you can you can give it to your clients as well I recently bought this it's called the sick thermal camera it's for the night for an iPhone basically you can get temperatures out of your iPhone it's it's of course really good to do silly things like this but it's also really good to try to check certain things like imagine if you want to try to find if there is any wall with too much warm or if the camera is overheating or you know just if you want to actually just check if your cabling is not going berserk just to just double-check stuff I am a control freak so I brought the camera a thermal camera these cameras are used for plumbers they basically check if the plumbing if the hot water is going through the walls as it should so that's what it's meant for doing its really cheap as well it's not expense 200 and something bucks so I bought it and I do all sorts of crazy stuff with it it also tells me what exact temperature it is as well one of the things that you do on set as well is do grids as much as you throw as much as you can try to shoot the lens grids of your lenses separately from the shoot I recommend you that because then you don't have all the stress of the shoot so I usually go back with the camera crew to because they usually bring back all the lenses to the rental house so I go back to the rental house and then I shoot all my grids on the rental house so because they have the camera there they have all the lenses we just got back from the set then I can shoot the lenses on my quiet time with my own dolly with someone helping me and we can just shoot it quietly but the thing is like it's always good for you to not do the camera lenses in the shoot because it's a mess because then they're gonna put them wrong and they're gonna put them tilted and they're not gonna but them correctly because they're so stressed so you know it's always good for you to do it separately and so that's pretty much it for what you do as a tasks visual effects supervisor you're handling all these things you have all this equipment you're handling the tracking the HDR eyes blue in green screen and making sure it's correct making sure what cameras was used make sure what frame rates were used make sure if the motion control is working make sure the previous is being used and it's actually matching the previous otherwise it's a problem for the CG and of course making sure if you require extra plates for crowd or massive or all those things so that's pretty much for this presentation the first one which was the equipment you guys have any questions about that I tried my best to show every single thing I use on set I don't think I forgot anything I'm sure I have something else on my desk that I forgot but these are the majority these things that I use now we only have 20 minutes left so I had all these ones I had the William Hill TV spot that I was on set I had this Latin TV spot I had a deal of which is a BBC TV spot when in slow motion baby teeth and also I have a bunch of them so I'm not really sure which one I should show you I think I'm probably going to show you the most complex one maybe and then we so I'll show you the BBC one because then it's like maybe if we have time I can open the other ones but I really just just thought I'd just sort of just out of curiosity I just want to show you this really quickly this one because this one is so funny I need to show you this one so this was a this was a commercial and then I supervised for the for the mill and it's basically like for the BBC and it's a puppet and this is the kind of commercial we did five of them yeah so we did a we did a bunch of them was a series we did we did one on Christmas as well which is kind of like that I'm just gonna scrub a little bit at the end he just goes on he goes outside and and goes with the part with the gloves we also did one and like this which is on a company we did several them you get the picture so this was really tricky because I just wanted to show you this really quickly because it was all puppeteer so we have of course to do all the puppeteers they have to like use this blue so basically the puppeteers had to use these blue spandex suits so that it could be behind the hair and of course so that we could key it and of course it was all electronic and it had a lot of touch up as well to work but I just want to show this really quickly because I think it's pretty cool and it's it's a really nice it was a really fun commercial to do and so it's also very creepy sometimes that that thing oh that's me and so basically we then did the last one which was on top of a horse like that you can check it on my website but this is pretty much how it was short but you guys dressed in green you know you know I mean just in green they can just disappear like that so again when I was on set I was basically having to do a lot of things like making sure I knew what lens we were using making sure we were covering the backgrounds because think about this every time one of these guys on green suits is in front of a background that's one background that you need to recover because he's not there right like so the you see the hill there the forest it's completely gone so that means I had to take hundreds of photos of the Seth I had to take photos of the locations of like stuff that was behind stuff that was in front so that I could like recover all the hills and all the stuff that was being hidden not to mention we have to comp in all the explosives because the explosives weren't working on the day so we had to actually composite in elements of the explosions for the cannons so this was just an example of set supervision and of course also I wanted to show you because it has the world's smaller horse so it is a real horse it's it's it's just really tiny and really fun look at that just look at that it's like how cool is that it's it's the prettiest horse I've ever seen and this last one yeah it is sorry yeah of course well they didn't want to do a CG they wanted an actual puppet yeah I don't think it would look like that if it was in CG it would never look that good like it would look like a CG yeah exactly um yeah here he is he has so whenever he wasn't on like whenever he wasn't doing a shot they would put him with a track suit because he's resting so they actually did a track sit just for him to relax so here he is just relaxing just chilling and then he would come in and actually with the full suit and and then we would do the whole thing it was quite fun to do so that's that one then really quickly I'm just going to show you really quickly Leonard in slow motion which was a shoot a short film I supervised in LA you should check it out its new tube and on Vimeo as well it starts starts Martin Starr back then Martin Starr wasn't very famous he's very famous now because of because of Silicon Valley and but this was a very challenging on set thing that I did because he is in slow motion but nothing else is so he's very slow so we had to shoot him separately from all the plates we had to shoot him at 300 frames per second and then everything else was shot at 24 so it was a really tricky situation so of course it all started with the with the with the storyboards and like I was saying it was starting Martin Starr which is a bit more famous now we shot it in three days in LA that's me when I was younger and a few years ago so of course we shot it in several locations it was a really tricky thing to actually shoot and actually organize we all we use the red camera because the red camera allowed us back then that camera allows us to 300 frames per second and and of course a lot of tracking markers because we have to comp in the slow-motion plates into the normal plates and we couldn't really fit the motion control inside his rooms it wouldn't really fit so I had to put a lot of tracking markers on everything I had to scratch my head a lot of times trying to find out how to do things and we had a lot of fun doing it it was also a few under on the show and there were shots as well and I'm just going through this really quickly I also had my computer there on set because I was pre comping certain shots just to make sure things were working so these are some of the pre comps that I did while I was on set just to see if this was gonna work you know because that we can I didn't know if it was gonna work and and so we did a couple of shots like that so starting with the first one Leonard running we had a storyboard then we went on location I took a lot of photos of this location and did a huge stitch up of the photos and then put some 3d markers as well we had a dolly on the other side of the camera then we shot him in slow motion at 300 frames per second then what we had to do was we had to film him but then we had to calculate how long the dolly was taking to get to the end so let's say that the dolly took 10 seconds then when we shoot it in normal motion we have to calculate the 10 seconds find the speed rate of this shoot to actually have a faster move on the other plate so we shot him we had a timer and these are all the plates we had so we had him in slow motion we had then a person on the car we had a guy leaving the car we had some cars passing through we had then a 3d track in a point cloud and I represent like this was all done other photos I had like the stitch-up of the shot and then this was all kind of stitched together so I had some treaty markers sticked on the wall and basically we this was our main shot which we stabilized and we kind of tracked in everything else so you're gonna see it in a minute where we basically track in the stuff that was missing is this the one that has that sorry no this is not the one that's the one I that's the 3d system and and these are all the layers that we had to rotoscope with people being in front of people in being back what the scoping could be a bit forgiving because the background is gonna be the same background whether that person was so the edges are going to be the same edges where the people were so there's no lighting changes we did have to project and recreate the end again because the didn't father the client thought it was too long it took too long for them to get to the end at the shoot so what we ended up doing we we had to rebuild the end so this is how it works we kind of comped him talking the markers put in the woman inside the building and inside the car and she's there and then he passes through on the back as well same thing goes for the guy on the back as well the guy on the back because this was a really long area we had to make it shorter so he actually projected in made this rewrote shorter and then put the guy in front all with a lot of rotoscoping and then this was the same process for all the shots like this one where he's pouring coffee at 300 and we basically put some tracking markers on the back room because the camera was moving a little bit so I had some markers on the background and then we had the plate with the actors at 24 frames per second we had a stick so that they knew the eyeline of where the actor was going to be then we brought in Leonard to make the actual thing in slow motion with all the coffee pouring and then of course we comped it all in together so we also had to actually campaña the performances of her from another plate so he comped him in and then just put him all together and clean all the whole thing up we're quite well same kind of technique for this shot where he is talking with the boss the boss is shot in normal motion then we have people going on the office a normal motion then of course Leonard is in slow motion then of course we stitch everything together to look like it's seamless Leonard is always very slow and he's always late for meetings by the way because he's so slow and same thing just goes for the bubble like he has this party trick that he blows balloons and then the water is in slow motion because everything he touches is in slow motion as well by the way so we used the phantom camera so this was a camera that can shoot up to 3,000 frames per second and so what we did was we went III did this shoot I went outside with the camera and we shot a bunch of balloons with water and and then this is the plates that we've used basically we have the balloon uh 2,000 frames per second the normal balloon at 300 frames per second and in the plate now and so and then we of course stitched everything together we have to clean up the rain we had of course to clean the actual water and put in the new water and put the arm and the other guy and the other water in more water and that's it that's how it looks so I'm gonna just stop there because again like I said we're almost running out of time and I just want to show you a few more other things and I'm gonna just show you really quickly this one here as well so this one was another one that we did this one was a short film about people that remove their teeth it's a fashion thing that they want to have teeth as little babies you get the picture you can watch it later but basically what with what we did was we shot at this in location we had a witness camera always facing the other angle so we had a main camera a witness camera and then we had tracking markers on their faces so that we can actually rebuild the the inside mouth in the pit because they were all modeled and then we had markers on all of them and we always had that thing we always had the main camera in the witness camera they were all both synchronized and then basically went in to tweenie and then tracked everything and then tracked even more all the points and then started building the animation layers of the of the mouse and removing all the teeth and then of course making in ZBrush all the inner teeth in all the the gum that should be there all those things you could show you check this short film later but I just wanted to really quickly just show you this thing we did submit your eyes on set of course I took a lot of photos of her face the photos of her teeth with mouth open with closed closed mouth you know so that we could see Koller izing of the teat so that the other tip would match the gum so that the gum the gum color would match I took really high-resolution photos of all the actors and on that day this one was kind of really tricky as well then we see god only knows mainly because we had to shoot we have to shoot all these actors all these stars this is Pharrell in the music studio because they weren't they didn't they couldn't go to the set where we had all the musicians so we had to shoot them separate there and really crowded place with some tracking markers and then basically we had to combine everything so basically we had Pharrell was shot on one layer in January and then we had the actual set was shot six months later on another place and then of course we had some chandeliers which we shot those elements we had some curtains and then we stitch all of it together and that's how it was stitched together so we had the curtains put in we had everything else and then we had the channel ears and then we had the Pharrell was placed in there Compton removed all the markers and everything else that was for all the shots and we had another shot as well which was the same kind of deal we had the actual Orchestra Pharrell separately and in the roto and then of course we had to match the camera moves because they were not done with motion control they will done by hand so they are what I called because I'm Portuguese I this is what I call a Portuguese motion control which is a motion control them by hands where you basically try it and then you hope for the best so yes sometimes it doesn't work doesn't work all the time but it works sometimes and all the other shots were kind of the same way this was Elton John we shot almost a year and a half before this shot actually and the same thing goes for Brian Wilson we shot him in LA almost three months before treatments after we shot the actual orchestra we also shot a tiger shot a bunch of extra foliage and then rotoscope it all and then stitched it all up as a huge matte painting in 3d almost like a like a little forest thing going on there and same goes for ya you get the picture you can check out my website I have more detailed making offs of all these things and but I think we ran out of time really side I don't want to bore you more with this but I really didn't manage to show you everything I wanted but I hope I hope you two guys learned a lot and I hope you at least you know I want my main thing today was to show you the equipment the concept stuff the lenses also the applications the onset and things that we tend to use on these shoots so I hope you guys took something out of out of that the correct way the correct weight of lighting rescreen is really yeah but the correct way the lighting green-screen is always to be as far away from the green-screen as possible so basically what you want to do is you want to have two layers of lights so you basically have the green-screen as far away as possible and you light that twin screen as even as possible and then those lights you can even put some black some black blockers so don't they don't spill light for the front so the light is always focused just to the back and then your main actor should have its own independent lighting which is only affecting him in not the green-screen so you want distance and you want to try if you don't have this things you need to block lights with black sheets with like blocking so that you can try to minimize that so basically wanna an even green that's what he wants and as far away as possible as I said before if you guys wanna check out I always film all my presentations so eventually this presentation will be on my website on my youtube channel or if it will be on Ben Q's website because they are sponsoring this event so if you want to follow me on Twitter you go see Guetta if you want to see what I'm gonna do next also my youtube channel is you goes desk so eventually this presentation will end up here will end up on this YouTube channel in about two months from now if you want to see it right away next week then you have to pay for it so then you have to go to patreon and sponsor me in patreon and then you'll get access to the actual video before everyone else about two months earlier and so don't forget that if you want to support and follow you goes desk and that's that's it for me like thank you so much for watching you

Channel: Hugo's Desk ™

Views: 39,480

Keywords: Onset, VFX, Visual Effects, VFX Supervisor, BenQ, Hugo's Desk, Hugo Guerra, CG, CGI, 2D, 3D, FXPHD, Escape Studios, Splash, Onset Supervision, Camera, Canon, Canon 5D, Photogenic, Nuke Compositing, Nuke, Compositing

Id: N43z3UdSXUI

Length: 29min 46sec (1786 seconds)

Published: Fri Nov 03 2017