I know that there are a few BA who worked on Sintel that hang out here at the forum, so i am hoping that some of them will be willing to jump in on this discussion. I have the Sintel DVD and have dissected quite a bit, but I would like to just hone in on a few small (or big) issues that I am curious as to how it was accomplished I am going to post Sintel here and list a few questions
Anyone else with questions feel free…
First question:
At the beginning flyover and snow scenes, there is a haze and blowing smoke effect, like passing through fog. How was this accomplished? Did you do a full smoke sim? some sort of post processing – overlay a cloud texture? It seems to move with the camera…
Second question: at aroung 1:12, the snow reacts to Sintel as she rolls. How was that accomploshed? Shapekey?
Well, I didn’t work on it, but I won’t make that mistake again. It is still a pleasure to watch this short film.
Are you implying I am criticizing it? I most certainly am not. I am just trying to learn from it.
If it was done not only in blender, then i suggest that they used adobe after effects or nuke for that. Probably the fog was rendered in different pass and then composited. Probably using smoke sim or cloud simulator.
It can be shapekey, but can be manually deformed mesh. There’s couple of ways to do this.
then i suggest that they used adobe after effects or nuke for that.
They did not use either of these. Remember that the used only open source software for the animation, so presumably blender.
Are you implying I am criticizing it? I most certainly am not. I am just trying to learn from it.
Peace. I find the very notion of such an interpretation of my words to be utterly nonsensical.Truly, I meant nonesuch.
All of us could spend years :eek: learning from Sintel.
I have no doubt that Sintel is a tour-de-force of compositing prowess. But, then again, compositing is a very basic tool of this trade. You start out with a basic result and then you refine it, you tweak it, you adjust it. Very much like the “multi-track recording” process that was originally pioneered by Les Paul.
First, you concentrate on getting each component “nailed down” in isolation (a perfected blend-file and a corresponding perfected MultiLayer output file… all immediately backed-up and archived…). Then, you deal with the issues of blending all of them together. Finally, you deal with “color timing” and all the other particulars of getting the various scenes to look perfectly matched in the very harsh (and instantaneous … there might be a hungry tiger out there) judgment of the ever-so-particular human eye.
What never actually happens, I think, is … “oh, you grind away for the eleventy-millionth time and, another fourteen hours later, suddenly, miraculously, :eek: there it is! Perfection!!” No one could ever finish anything unless we could sneak up on it . . .
I did that. Yup, it was a subdivided plane with a shapekey. This was before dynamic paint (which is how I’d do it now).
I don’t know exactly how I’d set up dynamic paint to do it, unless you mean using a displace modifier, but thanks for the answer