Workshopped Flatting With Cryptids




















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Clouds

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 In the original script, Every time a anxiety event occurred AKA Water event, their would be clouds to indicate an oncoming storm. In scene 1, this was achieved, along with some thicker Volumetric lighting and some colour changes. A moving cloud was added to the scene. In blender this took a bit to get right as it would cause some small visual issues. One thing I learned id clouds in an indoor environment are kind of tricky to pull of as clouds in a 3d software require lighting to make it more look like clouds. Without the lighting the clouds look more like smoke. On other scene that had clouds was the Void scene which I created in replacement for some awkward camera angles in the restaurant. This was fairly easy to do because the set is technically outside. Sadly the rest of the clouds were removed due to time constraints. I had come up with a potential solution to he clouds, which was to make them in After Effects but this never came to effect.
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Photogrammetry Fish

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https://www.3dflow.net/3df-zephyr-photogrammetry-software/ Creating the Photogrammetry Fish was a fun process Using 3DF zephyr, I uploaded 50 photos of the three sets of photos Me Zara and Ian took. The first part of the process was to upload the 'cameras' to the application, this will produce the look above, this shows basic mesh points (Sparse point cloud). Then what we do is we make the Sparse point cloud denser using dense point cloud generation, this gives us more points and thus more detail to work with.   After this step we now start with mesh generation. This is not the final mesh but this will now start 'connecting the dots'  Then we proceed to the final stage, Producing a detailed mesh generation, This will give us our final look of the object scanned. The scans above are what Zara's photos produced. Which turned out to be the best scan as her photos had more details and better colour. because the plate was a reflective surface the mesh didn't smoothen...
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The Void

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 Scene 3.33, 3.34, 3.35 and 4.11 originally took place in the restaurant set. In older designs the camera had been set up so he was going to swim in the middle of the set. Original 4.11 Camera Shot Original 3.34 Camera Shot in an old version of the restaurant. After review Max decided we needed a new set, an open set where it was just the water and Pavo. This was a relief as this made camera placement a lot easier. The part that took the longest in this scene was the addition of a lighthouse and getting the light to work. I had to make a beam of light going round the exterior of the lighthouse because the glass in the lighthouse wasn't making the light go through it. Also the camera in 3.34 followed the path of the waves so I had to be careful of making the audience motion sickness,  The Wave also was a difficult process. What I did was got a plane, made it thick and curved the shape at one of the corners of the plane. Getting that right took a while. Making the curve correct ...
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