Urban Decay Textures Revisit in 3DsMax

Starting to relight the scene in 3DsMax. There was this problem with the walls, floor, and roof disappearing. Originally I thought it was a MR sun/IBL issue, so I thickened the geometry of the walls. It was just a matter of changing the settings for a few shaders. Above is the scene, the second version has final gather settings. There is a directional sun light (key) pointing into the open wall and a fill light.  

Urban Decay Work-in-Progress

Urban Decay WIP November 2014 from sandra herman on Vimeo.

Model by Preston Platt, CG Society Challenge #38

Test render and beauty pass with some textures, key, bounce, and fill lights, with some luminescence aimed at the glass windows.

Some reference images:
http://i.dailymail.co.uk/i/pix/2013/10/21/article-2470148-18E0FE2E00000578-521_634x944.jpg
https://www.flickr.com/photos/filth_city/6209276710/

Lighting and Compositing Reel, OCT 2014 v04

 Reel OCT 2014 H264 04 from sandra herman on Vimeo.

REEL OCTOBER 2014 H264, FOUND ON VIMEO

Revision of battleships project. Features two animated cameras, a cannon fires and smoke dissipates. Minor text, timing tweaks, and re-ordered the projects.

SANDRA HERMAN   |   SHOT BREAKDOWN  

Introduction, 7 seconds, After Effects
Cement overlay, colour solids, glow, reflection, animation keying by Sandra Herman

VFX Muzzle Flash, “Kingston Paradise,” Feature Film, 12 seconds, After Effects
Footage courtesy of director Mary Wells and Autonomous Entertainment
Two shots, compositing: muzzle flash, glow effect, smoke integration by Sandra Herman

Ceiling Cut-out, Integrated Cameras, “Acapulco,” Short Film, 23 seconds, After Effects, Photoshop
Footage courtesy of directors Samuel Plante and David Planche
Compositing: 3D projection, 2D mattes, 3D cameras, extended carpet-floor, colour correction by Sandra Herman

Captain’s Log, Project, 12 seconds, Maya, Mental Ray, Photoshop, After Effects
Model by Giorgio Luciano
Compositing: 2D mattes, cameras, water effect, lights, texturing by Sandra Herman

Dropship, “One’s Own Body,” Short Film, 22 seconds, Maya, Photoshop, After Effects
Model courtesy of Conor Loftus and CWPL Films
Metal textures and shaders, lighting, camera, rendering by Sandra Herman

Neon and Chrome, Project, 26 seconds, Maya, Mental Ray, Photoshop, After Effects
Model by Christopher Desse and Matthew Thain
Camera, vehicle rig, textures, interior/exterior lighting by Sandra Herman

Clean-up and Tracking, “Acapulco,” Short Film, 7 seconds, After Effects, Photoshop
Footage courtesy of directors Samuel Plante and David Planche
Compositing: wall mattes, tracking, rotoscope wall/cushions by Sandra Herman

Colour Adjust, Title Edit, “Acapulco,” Short Film, 6 seconds, After Effects, Photoshop
Footage courtesy of directors Samuel Plante and David Planche
Compositing: match marker colour, July title, track letters and lines by Sandra Herman

sandratraceyherman@yahoo.ca   |   sandraherman.blogspot.ca    

July 2014 Reel

Compositing Reel, Version July 2014, found on Vimeo

This revision includes footage breakdowns of a 3D ceiling cut-out with an animated camera as well as a scene showing rotoscope and tracking from the short film "Acapulco" (2014). The camera pan used in the Dropship project has been removed temporarily.

SANDRA HERMAN   |   SHOT BREAKDOWN  

Introduction, 9 seconds   |   After Effects
Cement overlay, colour solids, glow, reflection, animation keying by Sandra Herman

VFX Muzzle Flash, “Kingston Paradise,” Feature Film, 13 seconds   |   After Effects
Footage courtesy of director Mary Wells and Autonomous Entertainment
Two shots, compositing: muzzle flash, glow effect, smoke integration by Sandra Herman

Ceiling Cut-out, “Acapulco,” Short Film, 32 seconds   |   Photoshop, After Effects
Footage courtesy of directors Samuel Plante and David Planche
Compositing: 3D projection, 2D matte keying, 3D cameras, extended carpet-floor, colour correction, lights by Sandra Herman

Clean-up and Tracking, “Acapulco,” Short Film, 7 seconds   |   Photoshop, After Effects
Footage courtesy of directors Samuel Plante and David Planche
Compositing: background and foreground wall mattes, tracking, rotoscope wall/cushions by Sandra Herman

Dropship, “One’s Own Body,” Short Film, 20 seconds   |   Maya, Photoshop, After Effects
Model courtesy of Conor Loftus and CWPL Films
Metal textures and shaders, lighting, camera, rendering by Sandra Herman

Neon and Chrome, Project, 26 seconds   |   Maya, Mental Ray, Photoshop, After Effects
Model by Christopher Desse and Matthew Thain
Camera, vehicle rig, textures, interior/exterior lighting, rendering by Sandra Herman

Captain’s Log: Stormy Pursuit, Project, 17 seconds   |   Maya, Mental Ray, Photoshop, After Effects
Model by Giorgio Luciano
Textures, lighting, 2D matte keying, dynamic water, rendering by Sandra Herman

http://www.imdb.com/name/nm6541759/?ref_=fn_al_nm_1

sandratraceyherman@yahoo.ca   |   sandraherman.blogspot.ca   

June 2014 Showreel version 02

Do email me for access to this password protected version of my reel. Since the short, "Acapulco" is a work-in-progress, I cannot explicitly post footage from this project.

SANDRA HERMAN      |     SHOT BREAKDOWN

Introduction, 9 seconds   |   After Effects
Effects: cement floor overlay, colour solids, glow, reflection, keying by Sandra Herman

Scene Clean-up, Rotoscoping,Tracking, “Acapulco,” short, 8 seconds   |   After Effects
VFX 07 footage courtesy of the directors, Samuel Plante and David Planche
Wall matte, rotoscoping, tracking to match live-action camera by Sandra Herman

Ceiling Cutout, 3D Integrated Camera, “Acapulco,” short, 29 seconds   |   After Effects 
VFX 04/4.5 footage courtesy of the directors, Samuel Plante and David Planche
3D Cameras, texture cut-outs, 3D projection, extended carpet matte by Sandra Herman

VFX Muzzle Flash, “Kingston Paradise,” 13 seconds   |   After Effects
Footage courtesy of the director Mary Wells and Autonomous Entertainment
Two shots, compositing: muzzle flash, glow effect, smoke integration by Sandra Herman

Dropship, “One’s Own Body,” short, 23 seconds   |   Maya, Photoshop, After Effects
Footage courtesy of Conor Loftus and CWPL Films
Metal textures, lighting, metal shaders, camera, rendering by Sandra Herman

Neon and Chrome, 25 seconds   |   Maya, Mental Ray, Photoshop, After Effects
Model by Christopher Desse and Matthew Thain
Camera, vehicle rig, textures, interior/exterior lighting, rendering by Sandra Herman

Captain’s Log: Stormy Pursuit, 14 seconds    |    Maya, Mental Ray, Photoshop, After Effects
Model by Giorgio Luciano
Textures, lighting, 2D matte keying, dynamic water, rendering by Sandra Herman

http://sandraherman.blogspot.ca     |     sandratraceyherman@yahoo.ca

New Work

By mid-June I will have permission to use footage from my most recent work experience on the live-action short film, Acapulco.

In the meantime, I am putting together some breakdowns of that footage; showcasing my 3D projection of a ceiling interior and a scene with clean-up work.

Reel March 2014

REEL MARCH 2014 VERSION:

In this edit there is a camera pass and a texture breakdown added to the Dropship scene.

Breakdown

Introduction, 9 seconds   |   After Effects

Compositing effects: cement floor overlay, colour solids, glow, reflection, animation keying by Sandra Herman

VFX Muzzle Flash, “Kingston Paradise,” 13 seconds   |   After Effects

Footage courtesy of director Mary Wells and Autonomous Entertainment

Two shots, compositing: muzzle flash, glow effect, smoke integration by Sandra Herman 

Dropship, “One’s Own Body,” 23 seconds   |   Maya, Photoshop, After Effects

Footage courtesy of Conor Loftus and CWPL Films

Metal textures, lighting, metal shaders, camera, rendering by Sandra Herman

Under the Dock, 20 seconds   |   Maya, Mental Ray, Photoshop, After Effects

Model by Serguei Kalentchouck

Textures, lighting, dynamic water/fog, 3D camera, lens effects, rendering, dock board texture photos by Sandra Herman

Captain’s Log: Stormy Pursuit, 13 seconds   |   Maya, Mental Ray, Photoshop, After Effects

Model by Giorgio Luciano

Textures, lighting, 2D matte keying, dynamic water, rendering by Sandra Herman

Neon and Chrome, 27 seconds   |   Maya, Mental Ray, Photoshop, After Effects

Model by Christopher Desse and Matthew Thain

Camera, vehicle rig, textures, interior/exterior lighting, rendering by Sandra Herman

Fruit Bowl, 9 seconds   |   Maya, Mental Ray, Photoshop, After Effects

Model by Jeremy Birn

Textures, lighting, colour/light render passes, banana texture photos by Sandra Herman

February 2014 Demo Reel Version 01

FEBRUARY 2014 REEL, ON VIMEO:

SANDRA HERMAN | SHOT BREAKDOWN

Introduction, 9 seconds | After Effects
o Compositing effects: cement floor overlay, colour solids, glow, reflection, animation keying by Sandra Herman

VFX Muzzle Flash, “Kingston Paradise,” 13 seconds | After Effects
o Footage courtesy of director Mary Wells and Autonomous Entertainment
o Two shots, compositing: muzzle flash, glow effect, and smoke integration by Sandra Herman

Dropship, “One’s Own Body,” 12 seconds | Maya, Photoshop, After Effects
o Footage courtesy of Conor Loftus and CWPL Films
o Metal textures, lighting, metal shaders, rendering by Sandra Herman

Neon and Chrome, 27 seconds | Maya, Mental Ray, Photoshop, After Effects
o Model by Christopher Desse and Matthew Thain
o Camera, vehicle rig, textures, interior/exterior lighting, rendering by Sandra Herman

Under the Dock, 20 seconds | Maya, Mental Ray, Photoshop, After Effects
o Model by Serguei Kalentchouck
o Textures, lighting, dynamic water/fog, 3D camera, lens bulge, effects, rendering, dock board texture photos by Sandra Herman

Captain’s Log: Stormy Pursuit, 13 seconds | Maya, Mental Ray, Photoshop, After Effects
o Model by Giorgio Luciano
o Textures, lighting, 2D matte keying, dynamic water, rendering by Sandra Herman

Fruit Bowl, 9 seconds | Maya, Mental Ray, Photoshop, After Effects
o Model by Jeremy Birn
o Textures, lighting, colour/light render passes, banana texture photos by Sandra Herman

December 2013 Demo Reel Version 02

DEMO REEL VERSION DECEMBER 2013, VERSION 02:

Some minor edits of titles and scene transitions. I am working on the dropship rendering with a new light set-up, for early January 2014.