Cineversity

Hello, I’m trying to create a scene similar to this.  https://www.youtube.com/watch?v=SKfpYVK_r0E&t=79s

Unfortunately, we go from fruits and veggies to a tool that’s cylinder-like… So I need to either have the object change color as the camera moves, or play with transparency.

Does anyone has a suggestion on how to achieve this?

thx!

Marc.

Hi Marc,

Since I have no scene file, I can’t really say anything specific, of course, toward your needs.

If the camera does a 90º (A->B) around the object, you need to select all the polygons visible in position A for the fruits. All polygons facing the camera in pos. B would be stored in a separate selection.

Camera mapping is here the way to go for texture-based setups. Since the effect is determined on two particular points of view, those views are “baked in” the setup. It is not possible to just boole two objects, as that would require then an orthogonal way to see, e.g., be very far away.

All the best

Hello Dr. Sassi.. thx for the response, I will try to come up with some scene similar to what I need to acheive. thx for your help.

marc.

Thanks for the reply, Marc.

Yes, that would help a lot. The fruits and veggies have no mandatory shape as a group. That would be needed to know.

The key element seems to be the can, which I assume should resemble the label mainly of the can. Is that correct? The size of the fruits and veggies is essential here, while the camera move will determine where one texture starts and one ends. I assume that perhaps a 120º camera move might be better. But I’m just brainstorming here. That certainly needs a tailored concept. There are no cookie-cutter options available.

Cheers

Hello Dr. Sassi.. so here is a demo scene with 2 pictures I included.. Basically the front one is what should be seen at the beginning but not show that it’s a bunch of squares, but rather 1 flat image.. then as the camera moves, it reveals the second pictures (side view)...

work in progress:  https://www.dropbox.com/t/ilsSOHZ2LoDrBa1a

These guys nailed it pretty well… https://www.youtube.com/watch?v=nQLhoLaKtPQ  done with c4D.

thx!

Marc.

Hi Marc,

The problem is not so much to understand those examples, I’m more interested in your specific targets. So thanks for the file, I will have a look at it now!

Let me share a little bit a small part of my background:
During my time at the HDK (now University of the Arts, Berlin), I took a year with Yadegar Asis Namini, a master in practical perspective illusions. I already was an alumnus with an architecture degree before I met him, so we had long and great conversations after the classes.
You might find similar examples from Art+Com, who did some work in this direction (Prof. Sauter helped me with my set-design project back in the ‘90s during my Art studies [MOFA]). … and well VR, and film, etc.

Besides, I do camera mapping in my third decade by now. My first opener of a movie in 1998 was based on this technique.  /end of bragging.

What I need is a scene file or a sketch, which allows me to see your target. If you point to a clip and have something specific in mind, please share the time-code to know exactly what part you like.

All the best

Here is the scene with 2 pictures.. the 1st one works well as you can see the can image, but when the camera pans, then the same image is mapped on the side, where I would like to see the image from the 2nd camera calibrator tag..

https://www.dropbox.com/t/UctMeJli5JBU5B63

Unfortunately I would love to share the original file, but I’m under an NDA for this project.

As for the referenced video, I want to achieve an effect like @5secs-12secs..

thx!

Hi Marc,

Thanks for the files, that gave me some input, and I will address this below.

What I got so far, based on your scene files and the idea of having an image at start and end that has no holes in it.

If you take cubes, you will always see something from the other file, except the camera is nearly placed at infinity.

Camera mapping uses the “original” geometry to un-distort the perspective “drawing” of the surface. This is not a given with “particles randomly in space.
The undistorted result allows for a specific camera move. On the other hand, particles (polygons) in space must use the camera’s absolute same position and the projection camera to match and create the illusion. Those do not “un-distort the perspective, and if the camera doesn’t match in position, then the effect is gone. No exception. However, the field of view and the rotation (to a small degree) can be adjusted.

To get a fill covered result on start and end, you need to work with polygons (cards) that align them to the other camera, so they become invisible on either the start or the end position.

Here is an example. I used the Current State To Object [CSTO] function and then selected all Children while deselecting the Parent. Then Merge and Delete: I got a “cloud” of Polygons. (The Target Effector must be below the Random!) After the CSTO, the Cloners are not needed anymore. So the scene is fast.
It needs more clones to provide a hole-free projection-“screen”, but I am sure the small example shows the effect.

(Two notes: If you need cubes, I would suggest sorting them, so the sides will get what you need. But that would be a more complex setup.

I have not set them up as RS camera map nodes, as not everyone has here Redshift 3D, but I tested it and it works.)

Example
https://www.amazon.com/clouddrive/share/8cFw5aMI9Q6dBvlS1xvGomYoE4GHMB3quypyBcwDalr

My best wishes for your project

P.S.: the clip shows “Seeing Hidden Opportunities.” at one point. That is when the camera and the projection camera have the same position.
The Projection Camera can be baked into a UV tag, not needed, but often more comfortable to transfer among apps and renders.

Great! thank you so much for your help, will give it a try.

cheers!

Marc.

You’re very welcome, Marc!

Please have a look here:
https://www.amazon.com/clouddrive/share/CS4w8fUBNH3dTcgeu4kufslrjgvQx2pYA4LYyGdSPl9

It is kind of a hack, but it allows very quickly to set up the effect you pointed out in the video.
The idea is that any light-object can be set to negative values. What we can’t do on a real set, except putting black flags of Duvetyne all over the place. Anyway, with a negative setting and just enough to take the light out that was given, we get a black text. The light source should have no falloff in any direction and set to a Raytrace shadow to acknowledge the context.

Enjoy.

that is an interesting effect indeed! I’ll check it out more in depth… thx!

Thanks, Marc.

If you like to have camera mapping working (instead of light), this is a hint of how the alpha masks can be produced. As it works like light.

Cheers