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Enising Inc's Photo+CG Montage "Behind the Scene"

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febx-tine
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Post by v_wrangler Fri Jun 19, 2009 4:27 am

First topic message reminder :

At your request, Enising Inc.'s Resident Muse ma'am febx-tine wrote specially for all of you a quick tutorial on how we did the Photo+CG montage images here:

http://www.cgpinoy.org/architectural-f3/quick-montages-t4728.htm


If you have questions, shoot and we'll try to answer. I will expand on step no. 2 later.

From Photo+CG Montage Tutorial

From Photo+CG Montage Tutorial

From Photo+CG Montage Tutorial

If this tutorial helped you, please let us know, thank febx-tine and send us some cool photocgmontage images. If we like it - who knows we might even send you some work.

Goodluck.
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Post by SunDance Sun Jun 21, 2009 12:46 am

ang galeng sir V... sana maging apostle moko...hehe buttrock

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Post by ytsejeffx Sun Jun 21, 2009 7:00 am

hope you find some free-time to post the next part of your tutorials......you have many followers waiting sensei.........thanks
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Post by v_wrangler Sun Jun 21, 2009 5:43 pm

Feel free arkiemund. I'll update that soon with reference to this tutotial by maam tine.

White balancing like in photography is the soul of photorealism for montages or even in vfx. White is the presence of color and if you aren't able to match that virtual whites to the whites of the Background plate, your audience's will unconsciously resist the illusion you are trying to project. That resistance is that unexplained feeling "Hmm, something is off about this image just can't tell what."

It is diffucult to be the vertex apostle because once you have learned the secret (that there is no secret at all) you would have to grow your thick skin and listen to the neverending blast of thy loud mouth. No you do not listen through your ears - you will listen through the heart. And when you have become a new man or woman, you will willingly seek your new 12 apostles and spread the good word as well. Ask cray, he knows it well. If you are up to it. Then welcome to the fold!

Smile
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Post by arkiedmund Sun Jun 21, 2009 7:18 pm

For those interested, here's the info on WHITE BALANCING
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Post by febx-tine Fri Jun 26, 2009 7:51 pm

-thanks to sir arkiedmund for creating a pdf version of the photomontage tutorial... thumbsup

..we're happy to know that this had been helpful and worth to learn & try..

...again, tnx to my mentors (sir vertex & cray) and enising team for it was actually through them that i was able to take part with this project, learned it, and eventually lead me to create a quick jpeg tutorial on photomontage.. Wink
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Post by Norman Fri Jun 26, 2009 8:07 pm

mga bossing...request lang.......my pdf ba tyo nito?hehe...kung meron lang...thanks...hippie
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Post by nomeradona Sun Jun 28, 2009 9:45 pm

v_wrangler wrote:
nomeradona wrote:pwede pala ang ganito sa max... kala ko yugn Sketchup hanep dito. tagal na pala sa max ang ganito. thanks for putting it up roy. i guess i need to do the same thing in SU, paki silip nalang kung may recommendation ka especially paano i match yung ambience ng enviroment sa scene. meron kasi akong ginawang tutorial way way back and this is how to actually baked the actual picture background mismo sa scene. hope i could have more time to explain it later and indeed its a quickie yet parang ganito madaling maconvince yung viewer na kasama yung actual picture sa whole scene.

I was planning to write a more indepth explanation of matching the lighting later, but since you asked, I will try to sum that up briefly for the meantime.

Camera mapping:

We bake (Per Pixel Camera Map in maxspeak) the background photos to the simple enclosures (walls, floor, etc) so that we will have GI emitters that would simulate the general ambience of the scene. The purpose of the camera mapped walls or enclosures is actually two-fold:

1. As GI emitter

2. As raytrace reflectors
for 3d objects that should have reflections. I would really insist on putting reflective objects like vases, glass, etc because those objects, once they reflect the floors and wall and other elements in the background, they will serve as some sort of a tier - they create the illusion that the virtual objects in the scenes are actually part of the whole scenario. This is the same reason in vfx why we put reflective objects in the scene even though they aren't necessary. It's like magic - you trick the viewers into seeing and then believing that what they are seeing is real or part of the open space's reality.

So I repeat, the purpose of the camera mapped walls is to make them shoot GI and as an automatic environment map.


An added bonus of camera mapping is that since they stick to your meshes, you can also render them from another animated camera for quick 3d pans, or 3d zooms as long as the BG map's density permits. So you can make this single BG image act like they are 3D.

Now for light matching,


the first step is to place your lights in the same position as in the background picture. So if you have a ceiling light there, put a planar light or object light in its place, Now if you have openings like windows, you can make them hollow so that the direct light (sun) can get in. You can also put planar vraylights in there as skylight portals so they can pump in the GI from the environment. You can also put in the windows, camera mapped planes that are either strongly self-lluminated (high RGB values in the output rollot) or VrayLight Mapped. The added bonus of the latter is that they will also appear in the reflections like in real life.

The next step before you populate them with 3d objects is to test the lighting and shadows with a sphere or any simple object. I usually start them with a white material (some prefer grey - but greys doesn't burn out easily with strong lights and it defeats my purpose).

With the simple object in place, I try to find objects in the BG photo that I could assume as white-colored in real life. This could be walls, or paint, airconditioning units or any other element in the photo. Make test renders and try to mimic the same white balance in the dummy object by carefully adjusting the intensity of all light sources including the GI without touching the dummy object's white material. Do the same thing for shadows, adjust positions of lights or sizes so that they produce the same shadow angle and intensity.

Once you have done this and has acquired an acceptable white balance similar to the photograph, this is the time to put any object you wish.

Kahit ano pa ang ilagay mo dyan o anupaman angle - you will get a good overall match.

Di ko pala kayang i-brief! I just realized that it might be a little diffucult to understand without any illustrations, I'll try to cook up some illustrations soon.

Yung iba pang details at yong paraan ko sa pag mano-mano perspective match ay sa susunod na lang po.

I look forward to your tests in SU! Goodluck.
good points bro. will definitely follow these suggestions. thanks a million
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Post by pedio84 Sun Jun 28, 2009 11:13 pm

thanks sir V. malaking tulong to. mapag practisan kaagad..pwede rin ba mgaing apostle mo?hehehehe or kahit saling pusa na lng. 2thumbsup
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Post by v_wrangler Thu Jul 09, 2009 5:30 am

Thanks for the kind words.

As I mentioned in another thread, I am looking for freelancers who could do all these stuff for us. It's quite simple and wouldn't take 4 hours the most to make one.

So if you are interested and believe you can do montages using your own gear and time, talk to me and I will personally demonstrate the process and teach you a few more tricks. How's that for a deal?

I'll be in Makati 14th of July and will be available around 3:30 PM onwards till six or seven. For directions to our office, pm me or crayzard.

See you then!
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Post by abl_langs Thu Jul 09, 2009 9:26 am

galing! very impressive! thanks for the time in making the tuts, i know, making the tuts takes 5-10x more time than doing just the 3d presentation.. really appreciate it! great team sir vertex! thumbsup
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Post by wyulethe Sat Feb 13, 2010 11:53 pm

sir,abig thanks for sharing this tut, hehehe sobrang laking tulongpo nito sa lahat ng newbies hehehe a great appreciation sir
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