Week 2
Research, Development, Look-Dev
THE MILL X SCAD
Feedback from Week 2 Presentation to update for Week 3
Camera Motion ***PRIORITY***
Shot length and flow, have variety. Previs felt too similar in camera framing and shot length.
Shots felt too close to vehicle throughout, needs more to establish environment
Have something more interesting in the opening establishing shot, the previs opening doesn't feel like it has an introduction
Use small artifacts and posters to infer more about the time period (1940s-50s)
Play with the idea of the license plate year numbers changing in shot 2, updating as the time shifts
Emphasize the time period difference through film effects and color grading in nuke, possible idea of changing aspect ratio between time jump (shot 3)
Shots feel too rushed
Old music for sounds design
Search for modern sleek vespa model for the model transition
Modern Vespa Model
Week 2 Pitch Feedback
Upon opening our new bought asset of the modern vespa, a teammate of mine (Julee Lee) pointed out how low-poly the asset appeared and would not subdivide or smooth correctly in houdini. After learning this, I took it upon myself to open the asset in Houdini and see if I could trouble shoot through the issue. I noticed a few things about this model bought from cg trader: the modeler tried to make the vespa in as little geometry as possible, thus not giving realistic mechanical parts/pieces that would make this feel photoreal. Not only that, but upon subdividing, the topology would not appear any better upon smoothing. Unfortunately, the model also had such lack of detail in areas like the tires where we would want more variety in the surface detail while not completely relying on texture maps. With my efforts in Houdini exhausted, I knew I next needed to import the fbx into Maya to further investigate the topology and uv's there.
In an effort to save the model and get use from it before ultimately ditching it, I wanted to clean up areas that felt very cg, like the bend in the back of the vespa that felt like smoothed angled planes. I also replaced the tire model and rim to help return detail to the vespa.
After a conversation with team Retro, we mutually decided it was best to ditch the model we bought, and find a better high-poly model with more detail. After finding the model we liked, I imported the asset into Houdini and was very pleased with it's appearance. However, with disappointment, I discovered that the model was not UV'd like the seller stated.
Topology and UV
Asset sourced from cgtrader.com
With no other option, I began the time-consuming process of UVing the vehicle from part to part. Before beginning this process, I had to separate the individual meshes of the Vespa that came combined together into one geometry.
I found the most difficult part of the process to be the mechanical smaller pieces (nuts, bolts, piping) as they were the most tedious and I had to complete the UV process as quickly as possible to hand them off to another member of my team to begin applying the textures they made in substance.
9/26/23
By Sunday, I was able to complete the UV's and export the obj / fbx to hand off to another member of my team, Julee Lee. Although the UV's may need smaller tweaks in the week ahead, it was overall ready for the next step in the pipeline.
Preliminary Lighting & Redshift Atmosphere
Sunday afternoon- as we were waiting for everyone to gather their progress together in anticipation for this week's update to our mentors from The Mill, I took some time importing the UV's asset into Houdini and experimenting with some preliminary lighting in the alleyway. As we are still in discussion with our team as to the perfect setting and composition for our 1940's environment, we were gravitating towards an alleyway in the background. With these tall buildings in mind, I wanted to see what lighting angles were available to us if we were to move forward with this idea.
Using a simple daytime-sunset HDRI from Polyhaven, I was able to create an environment light and quickly ahieve a lit scene with I could angle to my ease. Although this won't be the official approach to my lighting process moving forward, it was the best quick solution to experimenting with key light placement and shadow direction while giving it the "Golden Hour" feel.
While in Houdini, I also wanted to start experimenting with the atmosphere. Unlike other software such as Unreal Engine or Maya, Redshift Houdini doesn't have an easy preset option for creating an atmosphere. However, I used this tutorial to experiment with creating the atmosphere and study how it affects the mood and lighting. Below are some test renders I screen-capped during my work process. Although the atmosphere appears to lay on very thick, it will be modified to feel much subtler in the weeks ahead.
Sound Design
Looking ahead, I knew this would be the time to decide if we were to outsource our sound through scad's sound design students, or if we were going to use something we find / create ourselves. Having the sound chosen earlier in the production process also makes it easier to pre-plan how long shots will be and how you want to cut them to the sound.
Over the weekend, I spent some time researching classic Italian music from the 40s / 50s that would compliment a commercial for the Vespa. When you look at past advertisements for the Vespa, whether it is commercials or fliers, they market the vehicle as a very romantic 2-person scooter. This led me in the direction of love songs.
Eventually, I came across the song "Come Prima", translated (Like Before), the song talks about loving another person with their entire heart.
Like Before
Like before, more than before I'll love you
for my entire life I'll give you my life
it seems like a dream, to see you again, to caress you
to hold again your hands tight in my hands
My world, you're the entire world for me
I don't love anyone as much as you
every day, in every instant I'll sweetly tell you
like before, more than before I'll love you
Like before, more than before I'll love you
for my entire life I'll give you my life
every day, in every instant I'll sweetly tell you
like before, more than before I'll love you
Using this song, I imported it into Adobe Audition, a sound editing software, and experimented until I made a 30 second clip of music. In the first half of the music, the song sounds very retro and old-time to put the audience in the feel of the 1940's. Then, halfway through when shot 3 occurs with the time jump, the song transitions to modern-sounding acoustics and clarity. You will be able to listen to the cut in this Week 3's Review Video.
