Allan McKay出品的高楼爆炸好莱坞级特效制作视频教程第一季 31GB

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FX 1世纪城市建筑破坏
在我们进入镜头序列之前，我们的重点是在许多镜头中进行许多FX，并通过独特的挑战来学习。我们第一个赛季的目标是在一次单独的投篮或一次一次的比赛中跳到最后。这将使我们有机会把我们所有的注意力和精力集中在这个过程中，并通过一个真正的电影制片厂流水线进行。
最初通过制作前阶段，我们可以学到许多关键的经验教训，如何接近视觉效果拍摄'正确的方式'。在我们采取行动之前，规划和讨论所涉及的内容并传达我们的计划。从最初的“移交”我们的镜头，然后开始阻止我们的镜头分阶段之前，我们太投入在创建所有的元素。
当我们潜入创建效果时，我们首先创建我们的销毁并锁定外观。学习创建一个坚实的工作流程，创造我们的破坏动态，并把它纳入我们的镜头与基本照明和阴影。我们的第一个评论是在我们开始建立我们的第一个通过破坏–然后我们回顾这个决定哪些地方需要修改–真正关键的时刻，我们再回顾我们的镜头和开始解决问题的问题和我们的模拟修改任何问题才完成的动画，输出缓存使用的蒸馏器在最后的渲染。
一旦我们的动态模拟被批准并发表，我们就开始创建我们所有的效果，这些驱动来自我们构建的基础模拟。最初我们专注于几何模拟，我们从火花和余烬中产生了许多额外的影响因素，更多的次级玻璃撞击，碎片以及密集的云层从建筑物坍塌的地方溢出。这些元素都是烤出来的蒸馏器也公布了他们最后的缓存，也不需要进一步的计算。
之后，我们创造了许多大气效应，从不同层次的灰尘、火灾、爆炸、射击、烟雾、烟柱、火焰爆发和建筑物内部的大规模火灾以及几十个其他层。
同时，我们有许多我们的元素的中间实现到复合材料内的核武器，这使我们能够看到我们的拍摄进度，并了解如何将其集成在一起。最后，一旦我们所有的元素被建立，我们就开始平衡我们的渲染，聚焦在光照和阴影以及调整层直到我们完全平衡我们所有的效果元素。然后，我们可以开始建立渲染渲染的场景状态，并将我们的最终渲染传递到COMP中。
我们不仅集中在我们的元素的重处理，以及许多技巧无缝集成我们的元素到镜头，并添加额外的反射和许多其他步骤。但是我们可以把我们的镜头作为一个整体来回顾，以及我们希望创造什么额外的元素。在这里，我们能去成3D最后一次作出最后的调整，以及创造接触地图的任何碎片击中建筑物的两侧，以及为我们的火元素燃烧和标志建筑周边燃烧的地图，和交互式照明传递给我们的火照亮，照亮我们的镜头以及。
所有这一切都是在相当长的时间内完成的，我们的第一次是专注于做大部分繁重的工作，但我们的重点是使一个视觉效果的拍摄完全令人惊讶，并通过它到最后。理解过程中的每一步，学习在我们通过过程中修改我们的影响所涉及的许多步骤。最后的外观是一个高质量的好莱坞生产级视觉效果拍摄。现在，我们可以开始复制这个过程，但在更大的规模，在更多的镜头，在进一步的条件。这是一个紧张的教训，铺平了道路，其余的课程。
FX Term 1 – Century City Building Destruction
Before we dive into sequences of shots – where our focus will be in working on many FX for many shots and learning through the unique challenges that arise. Our goal of the first term is to jump in the deep end on a solo shot or a ‘one off’. This will give us the chance to focus all of our attention and energy on the process and walking through a real film studio pipeline.
Initially walking through the pre-production phase we’re able to learn many critical lessons on how to approach a visual effects shot ‘the right way’. Planning and discussing what’s involved and communicating our plan before we take action. From initial ‘hand over’ of our shot and then beginning to block out our shot in phases before we get involved too heavily in creating all of the elements.
As we dive into creating the effects, we first initially create our destruction and lock the look. Learning to create a solid workflow for creating our destruction dynamics and integrating it into our shot with basic lighting and shading. Our first review is after we initially build our first pass of the destruction – we then review this and decide on what areas need revisions – A really critical moment is where we then review our shot and begin to problem solve issues and revise any issues with our simulation before we finalize the animation, and export Alembic caches of everything for use in final rendering.
Once our dynamic simulation is approved and ‘published’ we move onto creating all of our effects which are driven from the base simulation we built. Initially focusing on geometry simulations we create many additional effects elements from sparks and embers, to additional secondary glass impacts, debris as well as dense clouds of dirt spilling out of the building as areas collapse. Each of these elements is also published and baked out to Alembic caches so they are final, and also require no further calculations.
After which we create many of our atmospheric effects, from various levels of dust, fire, explosions, shooters, smoke, smoke columns, flame bursts and internal large scale fire inside of the building, and dozens of other layers.
Meanwhile we have many intermediate implementations of our elements into composite inside of Nuke, which allow for us to see our shot progress and understand how it will all be integrated together. Finally once all of our elements are built, we begin to balance our renders out, focusing on the lighting and shading and adjusting layers until we have a perfect balance of all of our effects elements. We’re then able to begin to build up our scene states for render pass creation and take our final render passes into comp.
Not only do we focus on heavy treatment in comp of our elements, as well as many tricks to integrate our elements seamlessly into the shot, and adding additional reflections and many other steps. But we’re able to review our shot as a whole and what additional elements we wish to create. Here is where we’re able to go into 3D one final time to make any final adjustments, as well as to create ‘contact maps’ of any debris hitting the sides of the buildings, as well as burn maps for our pyro elements to burn and mark up the building areas around it, and interactive lighting passes to get our fire to illuminate and light our shot as well.
All of this is performed over a fairly lengthy time, our first time is one where we focus on doing a majority of heavy duty work, but our focus is on making one visual effects shot completely amazing and taking it through to final. Understanding every step of the way and learning many of the steps involved in revising our effects as we move through the process. The final look is that of a high quality Hollywood production level visual effects shot. Which now we can start to replicate this process but on a much larger scale in many more shots in the further terms. This is an intense lesson and paves the way for the rest of the course.