Siggraph 2015 Rewind - Josh Johnson: VFX for Indie Films

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Motion tracking with lens distortion and visual effects for One and Two.

Josh Johnson demonstrates how he used Cinema 4D to achieve the visual effects in the film One and Two. Josh used C4D in conjunction with X-Particles, Turbulence FD, SpeedTree and Nuke to create teleportation effects and set extensions.

Josh also demonstrates the Lens Distortion toolset in Cinema 4D R17, and how he utilized it to add an airplane fly-by to casual iPhone footage.

03:01One and Two
08:20Teleporting Effect
18:04NUKE Composite
22:28Procedural Foliage with SpeedTree
26:50R17 Lens Distortion and Motion Tracking
39:18Flock of Birds with X-Particles

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Transcript

- [Josh] So I'm a freelance visual effect supervisor and artist. And CINEMA 4D is certainly my weapon of choice when it comes to 3D. I started out in compositing using After Effects then a couple of years of compositing I heard about the connection between CINEMA 4D and After Effects. Got into CINEMA 4D really haven't looked back since. So it's really crucial to my work. I'm a freelancer and I'm definitely a generalist so I do supervising, I do compositing and I do a variety of 3D stuff; you know, animating, tracking, simulation stuff just a variety of things and CINEMA 4D allows me to really be a generalist, an effective one efficiently. So with that said, let's take a look at my reel. ♪ [music] ♪ All right. So that was my reel. And as you can see I do a lot of different areas in, you know, in the realm of 3D and just visual effects in general and I really owe a lot of that to CINEMA 4D. It just gives me the ability to try out new things I wouldn't necessary do like sculpting for example. So speaking to being a generalist and being able to handle lots of different things especially with CINEMA 4D as my tool of choice I recently finished working on a feature film. It actually comes out to select theaters and video-on-demand this Friday. It's called "One and Two" and on the movie I visual effect supervised it. So I was on set for about 30 days of shooting to supervise all the visual effect shots to make sure they shot them correctly so it would be less painful for me when it comes to post. And then when it comes to post I did a bunch of visual effect shots. It was pretty crazy and all in all we had about 56 total visual effect shots, which doesn't sound like a lot maybe for today's standards with things like "Transformers." But when you think about it "Jurassic Park" had around 60 something visual effect shots. So it's kinda crazy what we're able to do like in, far as like independent realm and me being the only full-time visual effects artist working on the movie was able to handle. So I had a small team, a couple other artists helping me as well. So in total I created 25 shots all by myself that included like compositing, all the 3D work and I even had a full CG shot that of course I did in CINEMA 4D that made it into the movie, which was pretty exciting as well. But I also composited an additional 14 shots and kinda gave assets to some of the other freelancers that were helping me. So let's take a look at the trailer for this movie. Inside the trailer, you'll be able to see some of the work I did. I think it'll be fairly obvious in a good way. - [female voice] Come on. Keep going. - [male voice] Hi. - Now! - [male voice] Mom, let's go. - [male voice] I know you two were out last night. I catch you two doing that again there's gonna be a price to pay. You understand me? - [female voice] I got you girl. - What was you two doing out there? - We were just playing. - Sit down! - It's not worth it. We have to do what he says. - I don't understand. There was a time when I thought they might be gifted but I'm scared. - Matt, come on. - What Eva? - You just gonna live like this? - I'm done with this. - This is everything I ever feared. - I need you to understand who I think you are and what you are capable of. - What is wrong with you? They're children. They're our children. - They're more than that. - What is this place? It's almost like a dream. - [female voice] Why don't we talk about the home that you ran away from? - [male voice] Get off of me. - I didn't do anything. - You sure? - What are you doing? No. What are you doing? - Where's your sister? - This thing we have we never asked for it but it's a part of me. ♪ [music] ♪ - So that's the trailer for the movie and it comes out this Friday on select theaters and video-on-demand. I'd encourage you to check it out because there's a whole lot of CINEMA 4D work in it. As you can see from the trailer, the marketing team for the movie chose to show a lot of my stuff too, which was pretty exciting for me. I didn't even exactly know what they're gonna show in the trailer but happy to see a lot of my works they're using for marketing, which is pretty cool. And you know, and part of this, the fact that, you know, to try to do this movie in such a short timeline. We completed the picture lock and edit on December 1 and we had to be finished with the movie end of January. So that's like two months before we had picture lock to actually wrap up all of this. Now before that I was able to do a little bit of work, working on the movie as well with some shots. So I knew they were going to be in the movie and they couldn't really change during the edit but all in all it was a very, very, very quick timeline. And quite honestly CINEMA 4D, I don't think I could done it without Cinema 4D just because I was able to go in there I did previs, I did layouts on some shots done in Cinema 4D. I did all the smoke simulations. Other simulations I did as well. There's a flocking birds I did all inside Cinema 4D. And it just wouldn't have been possible without that. There's even a shot I did with the new release of R17, which I motion tracked. I did that inside Cinema 4D and that was actually in the trailer and one of the shots. But so kind of the main stuff I worked on was the teleporting. So for the teleporting again I did that inside Cinema 4D. And before we started shooting on set it was important to have, you know, some of the concept and the look developed for the teleport was gonna look like. For once we could show the actors and like, "Okay it's gonna look like this," and just of course me being on set knowing what I needed to get out of the camera to really pull this off. So let me show you a couple of things here related to the teleporting. So first up this is actually some concept stuff I did before we actually started shooting. This is some footage they shot at the Panavision. And this is just some concept design I did of the teleporting. I went back and forth with the director and also a visual effects consultant named Eric Levin who helped me in this process. And we got to a point where the director really started to like the teleporting look. And it was important for us to do something kind of unique. The teleporting's been done a lot in movies. So we wanted to do kind of our own little spin on it and being like an art house independent film we didn't want the teleporting to be like the hero of any shots. We wanted it to just feel like, "Oh, it's part of the movie. It's part of this world they lived in." And based on some reviews we've actually...I think it was "Vanity Fair" actually called out the effects works, which really doesn't happen very often. They said, "Shockingly good effects." I was like. "Whoa, all right." So it surprised me but it was cool. And you know, just knowing the fact that I did this all in CINEMA 4D and a lot of time CINEMA 4D is known for, you know, motion design work, motion graphics. It doesn't get a, not a huge rep in terms of visual effects. But ever since I've been using it, you know, I just decided I was gonna use it for effects and haven't stopped. So let me take a look. Let's take a look. So here's a set photo of...this is one of the scenes where she actually teleports out of the window. So here is the Alexa camera we shot it on with anamorphic lenses. And if you can see back there's actually like a leaf blower. So the production design team had a leaf blower and they would, you know, time it up and shoot that out of the window to get like the movement of the curtains and stuff just to have some kind of interaction when they teleported. Because you know, it's important to get as much as you can in camera. Let's see. There's another shot of that. It's a better shot at the really hi-tech leaf blower next to the actually really hi-tech camera And so just give you an idea again, all the shots I did on this film I did it in my apartment. There was one shot that I actually did send to a render farm but just one out of the 56. Everything else was pretty much done right here, just in my apartment, custom built, pretty affordable PC and I also had a laptop. So there'd be times where I'd working on my workstation and my laptop would just be sitting there rendering. Because as you saw I did a lot of fluid simulation stuff and fluid simulation stuff can be pretty, you know, computation sensitive on a computer and just long render times. So I had a system that you know it worked. And let's take a look at... So speaking of the simulations in teleporting let's take a look at...Here's just a montage of some of the simulations I created in CINEMA 4D for the teleporting and the way I went about this because I knew I had so many shots and obviously not a whole lot of help to do this. I created just a bunch of simulations and I would kind of use them as my own little stock library of digital simulations so I could just mix and use them in any shot I wanted. So here's just a quick look at some of the simulations. Again, this is created in CINEMA 4D with plug-in TurbulenceFD and X-Particles. I used X-Particles a lot because I could get in there and just play around with the particles get them or direct them to way I wanted and then use the TurbulenceFD simulation on top of that and that's just an X-Particle simulation. It's green and red because I used that for heat distortion in After Effects or in Nuke I could take that particle simulation bring it into comp and just basically turn that into heat distortion with some fractal maps. So let's actually take look at a CINEMA 4D scene that is actually one I used on the movie for the teleporting to just give you an idea of how I went about really designing some of this teleporting stuff. Let's drag this in here. Okay. So turn X-Particles on. All right. So this actual simulation was one I used in a lot of the teleporting scenes. Sometimes I would mix it up depending on the camera angles and kind of what motions they were doing. But this particular simulation kinda ended up being like my hero simulation and almost appeared in all the teleports. So you can see just some X-Particles falling down with gravity. Then I have various instances of turbulence as well controlling the X-Particles. And that was all I did for this. And then to get the smoke simulation out of this what I did was add TurbulenceFD to the mix. So I could turn this on and basically all I did was add a turbulence tag to my X-Particles emitter and make sure my container's big enough to fit the particles. Now if I run this simulation we should get an idea of what the smoke's gonna look like. So if I go to plug-ins, Turbulence, start cache simulation...I'm gonna let that...turn off my X-Particles here. So now, you can see actually inside the view port the smoke simulation's happening and it's actually pretty cool. So this is not the actual rendered view. This is just a view port view inside of TurbulenceFD of the smoke. So it just again gives me... It's pretty quick to work like this. Normally you wouldn't do like all these fluid simulations on like an independent film much less really any film that has just one full-time artist. But because of this workflow I was able to go through many iterations really quick. So I'll push "Stop" there for now. Let it stop and I'll just do a quick render just give you an idea. Just let that render. And of course you can, you know, add lights to it and change the lighting up and everything. But this was the basis for a lot of the teleporting stuff I would do. This is a little bit lower resolution sim right now just for the presentation but you get the idea. Okay. Let me close this. All right. So now, let's take a look at some of the other teleporting stuff I did. So if we take a look here we can look at...I had a bunch of scenes that used the teleporting in particular this shot in the trailer. Let me pull it up for you. So there was a shot on the trailer, toward the end of it, where there's... She kinda teleports out of the scene and there's a lot going on and that was a big shot to do and I had just various, various simulations of TurbulenceFD and X-Particles. I just layered them on top of, layered them inside of CINEMA 4D. So let's take a look. So this shot in particular right now that I'm looking at has a bunch of simulations happening around her. There's actually digital grass in that shot I rendered out of CINEMA 4D. This wall is actually a matte painting and I'll show some of that inside of Nuke in a second. But if I get to here the one I was talking about. This was kind of a big teleportation shot and there's just a whole lot of multiple layers of TurbulenceFD simulations and X-Particles and some After Effects work. And there's even a simulation of leaves flying around that I did in X-Particles. So let's take a look at that scene. One of the iterations of the scenes at least. Let's drag that in. So now you get an idea of...Here's a set-up. Let's push "Play." And here's kind of a set-up for that particular shot where the smoke's kinda whirling around her. Again, I used X-Particles to set-up the simulation because it is very, very quick, allows me to art direct how I wanted it and then on top of that I just ran the TurbulenceFD simulation. Well, let's take a look at another one. Here's just a bunch of iterations I did for that shot because it needed a very distinct look and lots of different simulations. So if I just grab one of these you can see... It's kinda the same set-up but I just have another particle simulation happening. And I would just do a lot of different iterations of these particle simulations. Let's look at one more. It's just another one and I have this kinda proxy object of kind of where the actress Kiernan was to have the particles kinda bounce off of. This is one of the kind of fades out really quick. Just to give another look to the smoke. Okay. Let's close that and take a look at that shot we were just looking at in the trailer. Okay. So I'm gonna open up a Nuke script now so we can get an idea of some of the CINEMA 4D work that went into this. So let that open. And so on this project I did probably 60% of the compositing inside After Effects and maybe 40% in Nuke. I used Nuke a little bit but I was relatively new to it. So it was kinda scary I actually bought Nuke during this movie because there were scenes I knew I was gonna need to use it. So I just went for it and used it and, you know, it's different than After Effects being a node based compositor but, you know, once you get past that it's just like After Effects compositing is compositing basically. So let me come back down here. So I'll just turn this back on. So again, so here's the shot inside Nuke and first thing I wanna show is a simulation of grass that I did inside CINEMA 4D. So let's take a look at that. So here is a simulation of grass. So on set we shot that scene and knew it was gonna be crazy with smoke rotating around her and just a lot of chaos in that scene. And we had a huge fan that was blowing on the actress Kiernan and moving the grass around but it still wasn't enough to really sell that shot. So onsite CINEMA 4D and just quickly created a grass simulation, threw on some like wind and turbulence to move the grass around, made sure I had some, you know, nice, hot speculars to match the grass and the plate. But just like that I was able to just quickly get out a grass simulation to throw into the shot. I think most people would probably be spending days if not longer just to get a grass simulation that worked inside a shot in feature film quality at that resolution as well if they can push play. And you can see that's just an asset that I added to the shot to really help sell the effect. Let's go back to the shot. And so let's look at the raw shot real fast without any actual effects added to it just so you can kinda see what I did to the shot. Let's take a look here. So this is basically what we shot. So you saw I had to extend the wall to make it cover the whole scene of course add grass, and add smoke and those things. And the way I approached the wall was after I had a 3D track, I basically just built a matte painting in Photoshop and then basically brought that into Nuke and then just re-projected that into some 3D geometry on Nuke. And then we also had a CG wall but of course it's much better to use the real textures. So as much as possible I tried to use the real textures from the matte painting. So let's take a look. And now let's go into a 3D view just to give you an idea of kind of what I did inside here. So again, I just added the geometry of the actual wall, kind of a proxy geometry and just projected my matte painting onto that like so. And then with smoke simulations again because we're on such a crazy timeline, sometimes I would just do like a smoke simulation in a 2D view without the 3D track because it was quicker to render it like that, and then I'd bring it inside Nuke and then just push it into 3D space about where she was kneeling down and you can see I just layer up the depth of the smoke. Now then, another thing I did too was since this was mostly a matte painting, I wanted to add some digital foliage to the scene to kinda, you know, make it alive. Along with the grass moving, I wanted to add some like ferns and plants on here. And the way I approached that was I actually created that asset in SpeedTree. And SpeedTree actually saves out a native format Cinema 4D file and I had never used SpeedTree in my life but I just bought it because I knew that it was gonna work with Cinema 4D and had a really nice connection. So use SpeedTree, send that to Cinema 4D, I'd render out a scene of the ferns moving in the wind. And then I would do the same thing. I would basically bring it inside Nuke and then re-projected it onto the wall. So if you see here if I turn off this little ferns in the wind it's gonna disappear here and the same way I approached that is I brought it in as a 2D card and just basically moved it all the way to where the wall was at. Okay? So now, I'm gonna close this and then...So speaking of SpeedTree I don't know if you're too familiar with it but it's pretty specialty software for creating plants and trees and kinda of organic life like that. So I just quickly wanna show you the workflow from the SpeedTree to CINEMA 4D. So I'll open up SpeedTree here because again I used SpeedTree in that scene with CINEMA 4D and there's other scenes too that were just, you know, big matte paintings and to really bring life to the shots I would animate some plants and have them moving around in wind. And that just really helped sell the shots. So there's various ways you can use SpeedTree but I'm just gonna open up like a demo tree. There we go. So here it just gives you like a bunch of presets kinda like the content browser in CINEMA. Now I'm gonna grab a tree preset, push "Open" and just like that I got a tree in the scene I can move around it's 3D, you know, which is pretty great. So there was things I did for the film where I bought a couple of assets and then brought then in SpeedTree and did some manual tweaking to them. I also created my custom ones as well. You can create custom trees in here. But a nice, little feature here I can push "Randomize," push "Yes" it gives me a new tree automatically. So again this is, you know, it was really quick. And just real fast I wanna show you...say I wanna again liven up a scene. I wanna add some wind to this, I can go to the wind here, go to the wind wizard. And it kinda has some presets in here for a shade tree. That looks similar to what, a tree I'm using. For the leaves; oak leaves that's fine as a preset. And for the wind I'll just go ahead and push "Calm." I'll push "OK." So just like that now I have wind interacting with this tree, which is pretty cool. I can turn the wind up and that'll catch up and start to get more windy. So that's great. And then now let's say that is good and done I wanna send this to CINEMA 4D. Go to export mesh and right here it already has natively rights to CINEMA 4D file. I'm gonna save that. And let's come down to...It's gonna save it out here, SpeedTree export, push "Save." Now it's gonna bring up a dialog asking me things so I wanna include the wind animation and also the joints or bones and I'll leave everything else at default. I'll push "OK." Okay. So let me close that. So let's open up CINEMA 4D and now let's just bring that file in that I just saved. SpeedTree export and there is the CINEMA 4D file that it wrote. I'll push "OK" or "Open." It's a little bit small but I can of course scale that up. Just like so and you can adjust the scaling too before you actually send it out. So I can zoom in on it and then let's push "Play." Oops. Let's push "Play." So you can see the animation from SpeedTree is built in, baked in into the key frames and I can just do a quick render. So just like that it was that easy to bring a tree from SpeedTree inside CINEMA 4D. And that was really crucial to my workflow as well. Close that. All right, so shifting gears a little bit, I want to talk about some stuff in R17. I think that's closing now. Open up R17 and...So here's an image that I actually...Before I even show the image I'm wanna say that so CINEMA 4D like I said before allows me to be a generalist. It has tools in there like sculpting now and you know 3D tracking that, you know, where as before it was like a specialty program like ZBrush or something like that. It could be kind of intimidating but of course CINEMA 4D makes these things really easy to use. So I had never even touched any kind of sculpting before until a couple of years ago when CINEMA 4D brought it in and I sculpted this with R17 and rendered it out an Arnold for CINEMA 4D. So it was just like a chimpanzee skull. And again I had never really sculpted anything before and Cinema 4D just allowed me to you know really get in there and start sculpting and with a newer release of CINEMA 4D to Arnold plug-in allowed me to render it as well in a way that I liked. So another thing in R17 that came out is the lens distortion tools and those are really crucial, when it comes to tracking. And really just integration of visual effect shots because every lens you shoot with has lens distortion on it. So this is a little clip I made right before I came to SIGGRAPH. I thought why not challenge myself and see how fast I can create like a little visual effect scene before I come to SIGGRAPH. So I made this in less than a day using R17. And I shot it on my iPhone kind of on purpose because I figured most people have iPhones so why not, you know, shoot something with your iPhone and integrate some effects into it. And I also purposely shot it in portrait mode because a lot of people shoot it in portrait mode. I think it's kind of funny. So let's take a look at it. This is something I made in like less than a day and shot it on the iPhone, figured out the lens distortion, brought it into CINEMA 4D, tracked the shot, added a plane and rendered out in my favorite new render, third-party render for CINEMA 4D Arnold. So let's take a look at the lens distortion tools in CINEMA 4D. So let's first take a look at this. I'll just start it out fresh. Again, new at R17 is the lens distortion tool. So it's under tools, lens distortion and that brings you up this little dialog. So what you want to do after that is just find your image and hopefully someone was on set and shot like a lens distortion chart that way you can draw lines on it and figure out distortion. If you don't have a lens distortion chart, there is other ways to still find out the distortion it just makes it a lot easier. So let's go a head and bring in, it's a lens grid. So we're just going to use this shot on the iPhone. I'm gonna bring the brightness down just a little bit. So inside the lens distortion tab, I'm gonna go to lens distortion and I'm gonna add an endpoint line, which is basically a line that has like three points, three vertices on it. And what you wanna do is draw this as accurate as possible onto the lines on your chart. And you know the more you have the more accurate results your gonna have. You should probably shoot for like having four at the minimum for the most part. But you can use the manual mode and get away with two and even the automatic mode you can get away with two as well. So you can move these around and of course you can come over here and scale your scene. I think I need to change the preferences on here. No, maybe not. So you can scale your scene to make sure that you're looking at your lines and placing things more accurately. So there's one line and now can add another line, you'll bring this over more. And again lens distortion's pretty crucial when it comes to visual effects and some shots I've worked with on different productions tracking wise you actually can't even track a shot if you don't have the lens distortion figured out depending on how bad it is and how unique the lens distortion is. On the movie we worked on, we worked with anamorphic lenses and they have a crazy weird distortion to it. So I had to do all the distortion on that as well. And there was even one shot that I did use R17 on it. It came out early enough in beta when I was testing it to use. So again, you just wanna draw the lines as accurate as possible. Trying to get the center in here. You can also use a dot grid as well, which can probably do it a little easier, but I had this grid laying around. So that's what I shot. So for example, we'll say that's good enough. Let's go to the lens distortion model and it has a bunch of different variations here and you can select the standard four degree and I'll just push "Auto-solve" and just like that it's figuring out the distortion of this lens right now. I can push "None" and that's no distortion and that's distortion removed. So after you figure out the distortion I would do more work on this but I have one saved. I just want to show you quickly. So after you figure out the distortion you can actually come here and save the lens profile out. So if you have like three different lenses maybe you gave a DSLR in a three lens kit or something like that you can shoot your lenses, get the distortion charts, save out all the profiles and just put them somewhere in your hard-drive and re-use them. You know for every project you need to figure out the distortion you've already done it and you have it waiting for you. So now, let's take a look at how that incorporates inside the motion tracker. Let's go back here. So let's bring in that plate. Okay. So we'll just open up a scene here. Let's push "OK." And actually we'll just start fresh. Close this out. We'll bring in the motion tracker object. Now it's gotta import the footage just like you did in R16. Here's the plate of the iPhone. Let's bring that in. Okay? And it recognizes this is frame 300 to frame 500. That's fine. I can scroll through to make sure...yep, that's the footage. So that all looks good. So after that now in R17 we have this new link right here for the lens profile. So that way I can actually go to my lens profile that I saved out, which is right here. I can add that too and soon as I add this you're gonna see this footage is going to change a little bit. So now it's, it just removed the distortion so I can track it. Again distortion, removing distortion is really crucial for tracking. So I can do this now right inside the motion tracker object with the new R17 lens distortion feature. So now, next I'd go to the 2D tracking tab and you know maybe set my number of tracks and go for like 1300. I'll keep the minimum space in a default. That's all I'm gonna do and just hit auto-track. So that's gonna load the footage in and it's gonna auto-track it. So also new to R17 in terms of motion tracking is the new motion tracker Graph View and as soon as it tracks it, I'll show that next. With the tracker view, you can actually go in and kind of visualize your trackers, see which ones have worse errors, which ones are better and you can actually filter out the bad tracks. Again a very crucial part to tracking is they don't have manual control so you can get shots tracked. So you can actually add your CG objects to them in CINEMA 4D. Now it's processing the frames going through tracking. Again, this is the 2D part. So later after you have the 2D tracks figured out you'll want to go into the full reconstruction tab and then get your full solve, so you can actually have your camera outta here. So it's processing the frames. I think we are just about there. So tracking's finished. That happened pretty quick. I can scroll and you can see the tracking looks pretty decent. I see something moving around there. I'll select that really fast and just delete it. So you can actually have manual control on this too. So back to the new feature is the Graph View. So I can go to the motion tracker Graph View just bring this out then click "Frame All." So now, I can get a visual and the graph of all my tracks and you can actually select these and it'll select 'em to view ports. If I grabbed a bunch of 'em you're gonna see it selects them now. So that's great and I can also switch to a graph mode, which is another visualization of my tracks, which ones are bad, which ones are better. And with inside the 2D tracking tab like in our R16 we have the error threshold but now I can click this and I can actually have a visualization of where I'm gonna remove the bad tracks. So I can set my threshold down here and it's gonna remove all those bad tracks up until that threshold. So let's just move it about. That looks pretty good. We'll say right there. So and after that what I would do is go to the reconstruction tab and just track this out. I know this was shot on a iPhone 6 which is a 4.8mm. So I can select that and solve it. But I'm gonna save the time of solving it and just open up the scene I already have 3D tracked and we'll just get right to that point because it will take a few more minutes to track that. So let's just go ahead and open. Now let's go open this scene up. Okay. So now, I can look at this airplane I put into the shot much like you saw on the preview video I did. So the important part here again like I was talking about is the new lens distortion tools. So if I go ahead and just take a render of this, let's go to current frame, push "OK," that's fine. So you can see it's not textured at the moment but that's okay. You can see the plane is sitting in there. This is no distortion applied to it but we're using the back-plate, the original back-plate that has the lens distortion from the iPhone to it. So what you need to do is actually render out your CG so it has the distortion from the iPhone. And the way you would do that is there's a new tab here for effect, lens distortion. And inside that, the profile we saved out when we were tracking you can actually bring it right here. So I can just go find that profile, the lens grid, push "OK." So now if I render this out again, you're gonna see the plane's gonna be changing just a little bit. I can zoom in a little bit closer. Just scroll up here. So I can actually see if I scroll between these two the plane looks slightly different. Granted that's subtle. But that subtleness is what really sells visual effect shots because now I'm actually matching the distortion of this iPhone. And you know, when it comes to visual effects stuff, the devil is totally in the details. That absolutely is very true. So this is one way to go about it. You can actually apply your distortion to your CG objects onto your original footage. And most of the times, most productions I've worked on whether commercials, feature films normally the directors they don't want you messing with the original footage. So this is usually the way you have to do it. Apply the distortion to the actual CG geometry. But there's also another way you can do it too. So if you're shooting something your own and you actually just want to remove the distortion completely from your background footage you can do that too. So let's take a look at this. So I can actually come into my colored tab where my image sequence is at. I can come over here and go to effect, lens distortion and then just like before I can actually come in here find out where my lens grid's at. There's my lens grid...can push "OK." So now, turn that on. Turn off my distortions because I don't wanna actually distort the CG geometry anymore. I just want to remove the distortion from the background object. So let's take a look to see if we can see a difference in here. I know it's subtle. Okay, so if you take a look between these two different images you can actually see the footage, I'll actually use these two, the footage is changing between these two. That's because this one actually has the distortion from the camera, the original plate, and this one below it is the plate with actual, the distortion removed from it. So this is what you'd call like the undistorted plate. So this is another workflow. When it comes to lens distortion, there's two different workflows. You have the redistorted workflow and the undistorted workflow. The undistorted workflow is quicker because you can just remove the distortion from your shots and just be on with adding your CG geometry and not worry about it after that. But again if you're working with someone else's footage they may not want you to remove the distortion. That you know, when it comes to that you'll have to use your other distortion workflow with the redistorting of the CG geometry. So here's another scene within CINEMA 4D on the movie that I actually utilized X-Particles. I'd like to show that real fast. So here's the scene where I actually added a flocking birds as you can see right here. So this is the shot that I rendered out and added into a couple of different shots in the movie. Let's take a look here. So really this is just particles. I can zoom close on it and you can see the bird geometry coming out and this is X-Particles and just the geometry here. So again, like X-Particles really allowed me to do just a bunch of different variations of effects work in the movie in a very quick short amount of time. And I think that's about all I have. - [female voice] Well cool. Thank you so much Josh. Everybody give him a round of applause.
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