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Thread: Has anyone seen the Tetra Vaal movie?

  1. #1

    Has anyone seen the Tetra Vaal movie?

    Saw it today and I've got to say it looks really good. Here's a link to the movie

    http://www.theembassyvfx.com/tetra_w_movie.html

    All the CG was done in Lightwave. I would like to know if they used HDRI to light the scene because it matches the back plates really well.


    Sorry if this has been posted before. I did do a search but it didn't come up with anything on these forums.

  2. #2
    this is one of the coolest things i've seen this month!!!
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  3. #3
    Exporter of Fine Polygons Psyhke's Avatar
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    I'm still scratching my head as to what exactly is CG in that movie. Is the robot entirely CG all the time? If so, kudos, and kudos again. But I just can't believe straight away that it is, because, well, it's much too realistic. Lighting, movement, everything. It's got to be a guy in a suit with some chroma-keying wizardry, right? Right?
    Hey, who likes cupcakes!!?

  4. #4
    i bet 80% is cg rest is real. man that is cool but what happens if they go crazy and take over the world hehe

  5. #5
    Midnight Toker
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    Thats simply amazing work its so awsome. hey Psyhke if you watch the scene when its standing guard with the two kids playing behind it, take a look at the shadow it moves incorectly just one thing i noticed that lets you know its cg..

  6. #6
    OK, here's what I think: HDRI lighting, Motion capture, Motion Tracking (match mover, boujou) and a very keen eye for detail. I've gone through this frame by frame and I think the only shots that are not GC are the torso shots from inside the car and the close ups of the head inside the work shop. I'll be they built a full torso for those shots just to have something to match to. The rest seems feasible to me. If you look at the shot where the one robot is shooting around a corner, you can see that the patio that he is inside of is all CG as well. There is a slight color difference between the stucco of that one and the ones next to it. Another thing you'll notice is that there are very few shots where you see the feet touching the ground for any length of time. The shot with the robot standing there while the kids are playing is one that was probably the hardest to achieve. The robot on the tread mill is another one that was probably pretty hard.

    It's funny because sometimes doing CG is about compromises. There's not enough time or money or talent or some combination of that, and that's usually what makes things noticeable. Somewhere in the pipeline someone has to make the choice to let something slide. It's not that it couldn't be done, it's just that for whatever reason, it wouldn't be feasible. Looking at this, it seem that the people involved just didn't compromise. That's all.

    To my eyes, Global Illumination can make all the difference. I bet we'll start seeing more and more stuff like this once Brazil and VRay get ported to Maya. Why that particular combo? Because most of the FX studios use Maya and because Brazil and VRay make it possible to use GI on a regular basis. Mental Ray is nice but it's just not fast enough to let you use GI all the time. Computers are finally fast enough and the software is finally sophisticated enough to handle this kind of work.

    -=GB=-

  7. #7
    Originally posted by Jean-Paul Lar.
    Thats simply amazing work its so awsome. hey Psyhke if you watch the scene when its standing guard with the two kids playing behind it, take a look at the shadow it moves incorectly just one thing i noticed that lets you know its cg..
    To my eyes the shadow doesn't move wrong. What is weird to me is how the shadow under him seems to soft. compair it to the kid's behind him.

  8. #8
    Exporter of Fine Polygons Psyhke's Avatar
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    Jean-Paul: you're right, good eye. That shadow is indeed wonky.

    I think it's like ngrava said, they didn't compromise-- but in combination with knowing the crucial things that need to *not* be compromised in any given shot. There's some elusive set of things that a viewer's eye will grab on to during casual viewing that can't be compromised in order to give that illusion of reality. Some things can be compromised, such as that shadow, and still on initial viewing it seems real. It's knowing what can and can't slide that makes the difference. And what, specifically, those things are can change from shot to shot, I think. Just MHO.

    An expert magician's ability to control your focus, so that he can properly perform his slight of hand seems a good rough analogy. Although in CG's case, it's somewhat reversed, since you are not directing a viewer's focus, but understanding where a viewer's focus will be from shot to shot. I don't know, something like that.
    Last edited by Psyhke; 04-26-2004 at 10:45 PM.
    Hey, who likes cupcakes!!?

  9. #9
    Midnight Toker
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    Psyhke "you're right, good eye. That shadow is indeed wonky."Trust me man i was fooled for a while also.

  10. #10
    Registered User Hervé's Avatar
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    I bet this was not rendered in LW... where's the flickering... I want it back !.... they had time to do all that.... if that's a LW render off course.... one hour /frame...?

    You said Boujou or match mover.... why not Anderson tech stuff...?

  11. #11
    Apparently it was done with Lightwave, combustion and Premiere. And all shot on a Canon GL1, the older version of the cam I have.

    Here's all the info I have

    TETRA VAAL Canada | 2003 | 1:20 Director/Editor/DP/FX: Neill Blomkamp
    Tetra Vaal is a spec commercial/corporate video created to put forth the idea of a robotic system of control that can function on its own, and make simple decisions. Shot in Johannesburg, South Africa, the eerie piece is designed to suggest the near future. Footage shot in Johannesburg using a Canon GL1 and edited using Adobe Premiere. All visual effects were created using Lightwave 3-D and Photoshop and composited in Combustion.

    What suprises me is there's no mention of a model being used, I just think if that stuff in the car is CG then it really is an awesome piece of work. That's the the thing with feature films at the moment. None of them use true radiosty because it's too slow for the time budget they have so they all fake it. But if you wanted to there's no reason why you couldn't get stuff to look as good as this. Not to take anything away from the guys that did this of course, you still need real skill to know how to use the software properly.


    Someone was saying in some other thread how Lightwaves renderer was showing it's age, I think this goes some way to proving them wrong.

  12. #12
    I think LightWave's renderer is still a good one.

    It only suffer in speed and configuration/tweaking options!

    Just my 0,000002 cents!
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  13. #13
    Yeah true it would be nice to see it being a bit faster. I actually like the fact that Newtek decided to leaved the actual render panel clean and to put all the fancy stuff in the different panels that they'd be associated with.

  14. #14
    wow....

    that's unbelievable.

    man, the only shots imo that looked like cg:

    the shadow thing in that one shot....

    when he's on the overpass... he's too bright and clear.

    when he's hiding behind a wall and the shots are falling around him... the debris is too sharp and clear....

    the gunshell... even though it's probably realistic in surfacing... they shoulda' grunged it up extra... that whole shot's too clean and well exposed.

    -----------------------------

    man, and the motionblur looks REALLY GOOD! dang, i thought that it would be impossible to get around seeing actual individual samples (like in jimmy neutron) but the ONLY place i saw that was by walking frame by frame when the robot gets hit with gunfire!

    wow....

    jin

  15. #15
    Ngrava I thought it had to be something like Matchmover but they don't mention it in the list of software they used. They say they used combustion which I guess you'd use for compositing but I didn't realise it had matchmoving tools?

    It's got to be motion captured though I can't see how else you could get motion that real.

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