VFX work done here is listed below as steps-
Step 1 Raw footage of client is taken onto 3D-Equalizer
Step 2 Calibrate markers to be tracked
Step 3 Track the plate / ambience
Step 4 Derive actual camera path; based on nodal pan or free move of camera
Step 5 Track perspectives / sharp edges
Step 5.1 Look for parallax and traverse & track twice
Step 6 Solve the camera
Step 7 Export onto Maya
Notes to artists
When camera aperture value and focal length are not available, artists calculate such parameters.
Once exported onto Maya, availability of lidar map (acronym of “Light detection and ranging”) i.e., a 3-D surveyed map - renders global scale. When Lidar scan is not available, work gets more intricate. In such instances, a 6’ model is created to create the ambient setting / global scale.
It takes imagination to project the natural flow of gestures, body movements and involuntary motions (such as inertia, etc) needs experience. A young VFX artist finds it difficult and consumes longer time to extrapolate such missing dots in kinesics. This is an area where having seniors around helps complete the trajectory of motions and also crash time taken for the shot.
Visible parts of an object or a character is part of footage from client. The latent parts however are imagined. For example: a protruded hand might show up on the footage. But, position of its elbow (hidden) and upper part of this arm (again, hidden) are to be visualized. This is another area where young VFX artists need support from experienced hands.
Matchmove - At BFS’ work bay
Raw footage-to-anime work on Maya are monitored on a daily basis. This daily review at BFS is called “Dailies”. This review is handled by a team comprising the lead, supervisor concerned, in coordination with the show coordinator.
Inputs on technical nuances, flourishes are offered to artists directly. The status in light of committed-ETA is checked on a daily basis. Show coordinator offers WIP status to client.