3D Tutorials: How to Make Dogs in Togo (2)

As the leading cloud rendering services provider and render farm in the CG industry, Fox Renderfarm has an outstanding team with over 20 years’ experience in the CG industry. Team members are from Disney, Lucasfilm, Dreamworks, Sony, etc. With professional services and industry-leading innovations, they serve leading VFX companies and animation studios from over 50 countries and regions, including two Oscar winners.In this artichle, we will share a guide to the career growth of VFX Compositors from Zhiyong Zhang, Compositing Technical Director in Base FX(Base Media is the leading visual effects and animation studio in Asia).Part 1: IntroductionWhat is Compositing?There are many different explanations about compositing on the Internet. Since it's difficult to explain, I would analyze compositing from some shots.Like the scene in "Monster Hunt", the foreground is made with a 3D model, and the background is made with a combination of the original paintings and pictures. That is to do some MP, color adjustments, elements setting and real shot adding. Finally, all the pictures are going to be integrated, which is a compositing process.The professional value of compostingCompositing is the last part of the visual effects in the later period. You need to blend and match three-dimensional things with the real shot through compositing techniques and methods. Through techniques and methods, add some 2D or 2.5D elements to make the picture more interesting. Compositing is making the projects that the entire visual effects team makes. Hence, compositors are responsible for the entire team, striving to adjust the project to the final optimal effect. This is the professional value of compositing.The artistic charm of compostingFor me, every adjustment on color, virtual focus, interactive light and others will make the scene more realistic or better-looking. Every step of the operation will improve the scene, bringing the compositors hope and happiness. It is awesome to do better in the time allowed and finally show something beautiful. This is the artistic charm of composting.Part 2: Six Basic Skills of CompositorsThe first basic skill is erasing. Many scenes have tracking points when shooting on the green screen, or there are some things that can’t be removed from the scene. We need to do erasing, which is very basic but important.The second skill is rotoing and chroma key. The chroma key is to keying the green screen. There is also a key called no green screen keying, which is the rotoing.The third skill is to match colors. Adding an element to the real shot to change the color of the material is actually matching the material, not creation.The fourth skill is to match the virtual focus or depth of field. The material itself will actually have virtual focus, so the compositor needs to also be good at photography, otherwise, it may become a bottleneck for the compositor. The ideas of the director and the main photographer will be presented in the scenes. We use compositing to re-express what they want to express in CG. We are doing matching rather than recreating.The fifth skill is tracking. Most compositors do 2D trackings, such as billboards or on-screen patches. And sometimes they also do 3d tracking.The last one is the matching noise. For some demanding projects, it is necessary to switch between red, green, and blue screen, or even zoom in to the local area for comparison. It also depends on the broadcast platform. Generally, if it is broadcasting on a TV platform, the noise is not easy to see the noise. If in the cinema, as long as the brightness of the cinema is large enough, the noise of some scenes can be easily seen. The noise matching can make the picture more realistic.Part 3: Standards for Cinema-level Film Compositing RequirementsThe standards here are not officially stipulated standards but are just some common standards that I personally summarize based on experience. I divided the cinema standards for film compositing into two types: technical requirements and artistic requirements.Technical RequirementsFirst of all, it depends on whether the color of the original material is changed. If you are not careful or have moved other parts of the screen including the color of the material for other reasons, it may cause customer dissatisfaction.Secondly, whether the maximum and minimum values of the screen are consistent with the material or not. Of course, the maximum and minimum values are not for a certain scene, but for all the materials of a project.Thirdly, whether the metadata is correct or not. If the editing requires metadata to be accurately restored, it needs to be correctly restored to the material. Generally, at the beginning of the project, it needs to agree with the previous DI or editing on how to set back.Fourthly, whether the shifting is stuck will also be a technical requirement. The shifting should be discussed with the editor. If the editing does not require any shifting, even if it seems to be stuck, it may be a fast switch of the front and rear scenes. This is one kind of editing methods. if you do something to make it smoother, re-reverting to the clip may cause problems.The last is whether there is any obvious flaw in the picture. The so-called flaw is whether there is a black border on the edge of the picture and whether the edge of the real shot is stretched.Artistic RequirementsThe artistic requirements will be significantly different from the previous technical requirements. We will check whether the details of the keying edges are enough to maintain the authenticity of the picture. In the normal budget, the details of the edges can be kept authentic. If the edges look fake, it may make the whole picture fall short.Whether the bright and dark parts of the screen is matching with the material within the acceptable range? The dark and bright parts here refer more to brightening everything in the viewing facility, to see if the added thing is the same color as the real shot and whether the degree of the color cast is the same. Without considering the budget, as a compositor, the only requirement is to do something better, so try to match it.Then, whether the compositing elements, the virtual focus of the background and the depth of field match the real shot. The depth of field of the real shot sometimes will be very shallow, sometimes it will be very deep. Generally, there will be a range, this range is taken by the lens and the camera. We can add an element in it, and change the depth accordingly.In addition, we must also consider whether the simulation of the lens effect meets the real shooting standard. With a normal lens, the virtual focus is 1:1, and with an anamorphic lens, the virtual focus is vertical, similar to 2:1 circular virtual focus. While doing compositing, it needs to pay special attention to matching.The next thing to consider is whether the addition of smoke, flame and other atmospheres is truly fused. The light and shadow, the virtual focus and the sharpness are matched with the whole, and the things that really melt into it are realistic.The last thing is to consider the interactive effects, the corresponding interaction between the real shot material and the CG elements. When we do the compositing, in addition to shadows, there are some light interactions, we should consider whether to add them.In the process of compositing, we need to give ourselves the opportunity to exercise and do more fine, otherwise, we can't make progress. In fact, the audience is very smart now, watching a lot of blockbuster movies. Therefore, we should try our best to be realistic in the time cost of cinema-level movies. If the audience feels satisfied in the cinema, it will be successful.Follow the leading render farm and cloud rendering services provider, Fox Renderfarm, for the next part: A Guide to the Career Growth of VFX Compositors (2).

As the leading cloud rendering services provider and fast render farm, Fox Renderfarm will share you how to make dogs in Togo.The visual effects of Togo are produced by DNEG, Lola Visual Effects, and Soho VFX. The most impressive thing in the whole film is the loyal and brave sled dogs and the local weather. DNEG began production after shooting in October 2018. The cycle lasted for about one year. A total of 872 artists from 4 different branch teams completed 778 VFX shots. Next, we will divide the parts made by DNEG (CG Dog and Digital Environment) into three parts to introduce to you.3D scanning of sled dogsThe husky sled dogs we saw in the film are not necessarily real, some are full CG, and some are CG replacements of a dog head. The sled dogs produced by CG need to match the real shots of the sled dogs. It will involve 3D scanning of real sled dogs, collecting reference materials, redesigning hair tools, building muscles and bones, and reconstructing the roaring appearance of the sled dogs.Live shot1. TestingDNEG has done a rocket raccoon with 800,000 hairs in "Avengers 4: Endgame", and has also tested wolves in previous projects, but has not done a dog, nor has it dealt with something like this Such a huge fur/hair production in the film.For the "Togo" project, they updated the internal hair tool Furball. Through some development and optimization work, they first created the largest amount of hair on a single dog as much as possible, and then met the hair of 11 dogs in 1 shot. In addition to the real appearance, it is necessary to simulate the state of hair with water, ice, and snow and its rendering effect.2. 3D scanning of sled dogsDuring the shooting, DNEG performed two photogrammetric scans of 30-40 sled dogs in the studio using Clear Angle, one wearing summer clothes and the other wearing winter clothes. The dog handler introduces a single sled dog into the studio, first familiarizes himself with the environment, and then takes him to the designated C position. The scanning process must be completed all at once, otherwise, there will be no chance to do it again if the dog is scared away.There is a separate shed next to the Clear Angle shed, which is equipped with an animation reference camera, which can capture the detailed dynamics and characteristics of the sled dogs outside of the actual shooting, and provide reference materials for creating CG character bindings and assets.3. From data to sled dogsA 3D scan of a sled dog can get feet, legs, head, and rough body volume data, but not including fur/hair data. Without hair data, it is impossible to analyze the muscle mass and the tissues under the fur. The solution adopted by DNEG is to manually measure the fur on the sled dog’s neck, back, tail, and other specific locations with a measuring tape in the small shed mentioned above.However, this method of creation is more based on the dogs involved in ideal, anatomy textbooks, not necessarily data-driven, and some specific details of the sled dogs need to be added on this basis.Real shotFinal shotThe final creation is to customize the muscular system and the skeletal system, use Ziva Dynamics to create the muscle and fat system, Maya's nCloth to create the skin, the fur tool Furball to handle grooming, and Houdini vellum to handle the hair follicle dynamics.The production team found that a lot of fur movement actually comes from fat. The fur itself is very stiff and will not twist left and right. Instead, fat and muscles move around underneath, forming a feeling that the fur is moving. Of course, it also needs to simulate the effect of pulling the fur after putting on the protective gear for the sled dog.Real shotFinal shotNow follow the TPN-accredited render farm and cloud rendering services provider, Fox Renderfarm to the next part: 3D Tutorials: How to Make Dogs in Togo (2).

As the leading cloud rendering services provider and 3D render farm, Fox Renderfarm will continue sharing you how to make dogs in Togo.3D Tutorials: How to Make Dogs in Togo (1)3D Tutorials: How to Make Dogs in Togo (2)The digital environment in the filmWhat we mentioned above are all about the production of CG sled dogs. There are many natural environments in the film, some of which are fully synthesized digital landscapes, and some are enhanced effects after real shots in Alberta, Canada. The two main scenes are Wheat Kinley Mountain shooting at Fortress Mountain, Alberta, and frozen Norton Bay shooting at Lake Abraham, Alberta.Real shot material1. Shooting across a frozen lake in Alberta, relying on a lot of roto to completeThe reason why I chose Lake Abraham in Alberta as the location for shooting the unstable frozen lake is that the blue ice here is very clean and clear, and the place is large. It's just that the weather on the day of the shooting was not very compatible. Two days later, the lake was covered with snow. Fortunately, the production team took a lot of reference photos within these two days.Nearly 95% of the shots are related to the sled dog and the owner Leonhard Seppala. To facilitate production, the entire sled team, sled, protective gear, fur, clothes, and Leonhard Seppala's hair need to be rooted separately, taking into account the sled dog body behind the team The cold atmosphere is stronger than the sled dogs in front, and the roto has to be created in layers.A real shot of sled dogs, replacing the environment and enhancing the atmosphereUnder normal circumstances, it is sufficient to project the roto layer on the character's body trajectory or vehicle trajectory and then superimpose on it, but at this time the hair details are very complicated. You need to project the roto on the card, build a sled system as a card binding, and then add Each layer of particle FX, snow, atmosphere, etc. In addition, the snow and ice produced by the sled and sled dogs flying forward are simulated in Houdini and filled with some 2D elements.Real shotFinal shot2. Cracked iceThe design of the ice-breaking lens is very complicated. The live shots were taken on a flat ice surface, so some ice flipped shots can only be done in full CG, while those non-CG shots used a method of destroying the lens track to make the ice surface look more" be more active, limit it to the range that does not destroy the parallax, use 2D techniques to constrain the fixed camera on a floating ice cube, or move the camera on the ice material, add 2D floating, and make the effect look less stable.Moreover, the material itself was shot on a flat ice surface with different light, and the lighting conditions are constantly changing with time. Therefore, the material of each version is different. It is necessary to keep these materials consistent and guide the ice surface. Fragmenting piece by piece is also a long and complicated process.3. Simulate huge ice cubesIn the sequence of the sled dog team crossing the frozen lake, huge blocks of ice will gradually rise as the ice surface breaks. The production team used procedural methods as much as possible to guide the shape of huge ice cubes. When there are a large number of huge ice cubes, there is no way to bind each piece individually, and it is impossible to carry out carving, texture, and appearance development processing on each piece. This will limit its shape and size. Once you want to make it If you modify it, you have to go back to the previous step and recreate it. So they created a new Cascade system that allows the layout department and the environment department to create huge ice cube layouts on a shot-by-shot basis.The Layout department created a very basic proxy shape in Maya and used Maya's curve tool to draw a huge ice shape, stretch it, place it in the scene, add binding constraints, and set up rough animations in the floating ocean.The environmental team has created a very practical toolset that can procedurally model huge ice blocks through basic geometry, generating broken edge details, internal bubbles, cracks, and faults in the ice layer. With the help of new tools, the work of the production team is basically all day shooting during the day and farm rendering at night.If you need to change the size or shape of the huge ice cube, go to the Layout link to redraw the curve and give it to the next process. The visual effects link will also simulate the interaction between huge ice cubes and water, including details such as bubbles and splashes, and finally, render in Clarisse.4. The environment of other mountainsIn the film, the growth of Togo is described in the form of memories of Laosai, part of which takes place among the mountains. The production team took a lot of very beautiful mountain views and modified them on this basis. For example, when shooting in Fortress Mountain, Alberta, the director thought the environment was good but there were too many trees, so some processing was done in the later stage. For another example, in the shots of the settlers' houses, there are no Alaska mountains in the real shots, and they need to be added later.Real shotFinal shotWhen designing the background, compared to the cumbersome work of drawing a large number of digital landscape maps, the production team adopted a 3D method that combined digital high-modulus, lidar scanning, and photogrammetry technology.In the end, the mountains that we saw close to the lens were sculpted, textured, and look-dev processes were completed. There were also some Clarisse renderings of trees, leaves, and rocks. In general, there was indeed a lot of background work that needed to be processed.Above is the information about how to make dogs in Togo brought by Fox Renderfarm. Fox Renderfarm is an excellent CPU&x26;GPU cloud render farm and 3D cloud rendering services provider, so if you need to find a render farm, why not try Fox Renderfarm, which is offering a free $25 trial for new users.