9.0 Conclusion: Comprehensive Comparison of Integrating 3D and Live Action Elements

May 17

Total time spent on this project: Over 340 hours. (Aug 2015- May 2016)

This thesis project was a huge project that took a lot of time reformatting to fit this online format which took place from 2018-2023.

Though I was not completely satisfied with the final shot, I am satisfied with all I have learned from this project.

If given the opportunity to redo my thesis project, I would make the following changes:

I would eliminate the moving camera or modify its motion to truck in and out rather than circling around the actor and having them turn.
I would set up my final shot using proxy models.
I would then focus on obtaining high-quality replacements, refining model details, and perfecting the photogrammetry stitch. This would give me a fallback option if I couldn't achieve the desired result with the model or green screen.

For my end-of-year video presentation, I would create a story walkthrough of the entire process, similar to the style of contemporary vlogs (circa 2016). I would begin with my initial idea, move on to sketching it out, and then film a basic version on my phone. From there, I would plan my shot, identifying the elements I wanted to provide and replace. Finally, I would sketch a plan and proceed to gather the necessary components to bring my vision to life.

I eventually abandoned several aspects of the project:

Modeling a realistic human in Maya.
Creating a seamless camera move that would switch between layers (green screen, model, photogrammetry model) without being noticeable.
Modeling the entire RIT campus.
Executing a camera fly-through of the campus leading to the actor.

If you've made it through all of these posts, I want to express my gratitude for taking the time to read them. I'm aware that some of them are quite lengthy, and I appreciate your interest in my project.

Final Conclusion:

The shot did not work as planned. In retrospect, the scope of this project was vast and could have been divided into several different senior projects, providing future students with opportunities for further development. The chrome ball was a significant aspect of this project that I wanted to explore, and I feel confident in saying that this part was achieved. There are still aspects related to the chrome ball that warrant future exploration, but my goals were met in terms of research and investigation.

The panosphere component of the project still requires considerable attention and could serve as an excellent senior project for students who are unsure of their desired focus. Skills such as programming and developing software and rigging systems could be beneficial for such an endeavor. My experience with Memento has taught me the importance of thoroughly testing products before implementation.

It is crucial for individuals working in visual effects to have a solid understanding of basic color science principles. The ACES (Academy Color Encoding System) workflow is an essential component for achieving high-quality visual effects.

Time management is another critical issue for visual effects projects, as they often take longer than initially anticipated. If given the opportunity to redo this project, I would establish a method for allocating the maximum number of hours among the various workflows and tasks. This approach would help prevent spending too much time on any single task, allowing more aspects of the project to be completed as originally planned.

This advice was given to me at the time; however, it was essential to either finish the task or figure out the task in the case of photogrammetry. Those tasks were complete unknowns when estimating time. In real-world applications, this situation might be addressed by setting up guidelines like, "If this cannot be figured out within one week's time, then this method is not advisable to implement at this time."

REFERENCES AND ACKNOWLEDGMENTS

CREW

Thank you to everyone that helped me make this project become a reality! I'm extremely grateful to the talented crew who assisted me on set. Their hard work and dedication were instrumental in this project, and I couldn't have done it without them. Thank you for your exceptional skills and commitment to the project.

SPECIAL THANKS

This thesis project would not have been possible without my crew, professors, advisors, roommates, and family.

My experience at RIT was truly enriching. I had the privilege of learning from exceptional professors who not only imparted knowledge but also challenged me to grow as a student. Thanks to their guidance, I gained a wealth of knowledge and developed the skills needed to succeed.

Paul Debevec and Mike Seymour have had a profound impact on both me and my project, although we've never met. Much of my work draws heavily from Debevec's research, while Seymour's contributions to FXguide inspired me to transform my thesis into an engaging online format. Throughout my undergraduate studies and the development of this project, I found myself captivated by the FXguide podcast and grateful for the inspiration it provided. If either of you ever come across this, thank you, I really appreciate the work you both have done.

ROCHESTER INSTITUTE OF TECHNOLOGY

Ientilucci, E. (2015). Lectures.

Long, D. (2012-2016). Lectures.

Reisch, M. (2015-2016). Lectures, Thesis Advisor.

RESOURCES

Art of HDR. (n.d.). Retrieved June 15, 2015

Transformations and Projections. (December, 1999). Retrieved November 15, 2015

HDR Shop (n.d.). Retrieved October 15, 2015

Witte, K. (n.d.). How to shoot a chrome ball for HDRI. (PDF)

VFX roll call for The Avengers (updated). (n.d.). Retrieved July 12, 2015, from

Autodesk Memento. (2016). Autodesk Memento about. Retrieved from https://memento.autodesk.com/about

Autodesk Memento Now Recap [2023]

VIDEOS

SenecaVFX. (2013, March 24). HDRI Tutorial Nuke, Photoshop and Maya

ILMVisualFX. (2013, January 10). Behind the Magic: The Visual Effects of “The Avengers”.

ILMVisualFX. (2013, February 19). Behind the Magic: Building a Digital New York for “The Avengers”.

Drew Gillie