First Session: Matchmove Class 1 (Tracking and Matchmove) – Esme’s Blog (arts.ac.uk)
Following on from the last match move session, using the same method of tracking the different points of the scene, selecting areas of high contrast and exporting
When tracking, It is important that all elements of the screen are accounted for, and there are clearly well-placed markers in every ‘quarter’ to minimize distortion and help form the fake lens that will be exported from 3D equalizer. This plays an important role in changing the lens to match that of a real cameras lens dimensions. This, in the process of tracking, allows everything in the scene to have a marked depth of field required to place the 3D object realistically in the scene.
An important aspect of the point tracking system for the application of 3D models is the use of ‘camera points’ and ‘object points’ which separates the two different point areas into two different layers; Background and foreground.
Having completed the background point tracks, the foreground point tracks were the next step in tracking the movement of the mans head to apply the 3D modelled helmet too.
During the process of adding tracking points to the man’s face, there were issues in the movement of the eyebrows, as the head rotates. This required certain tracking points to be manually moved frame by frame, rather than allowing the calculation to account for the movement and relying on high contrast pixels.
Once the facial track was complete, the 3D ‘Iron Man’ helmet was imported and manipulated in the 3DE 3D orientation controls viewport. This was then lined up with the mans face in the footage to fit the size of his head adequately.
This, similarly to the previous matchmove class, was exported into Maya, alongside the footage, where it can be appropriated tracked and animated. During this process, the helmet could be textured and rendered to a more photorealistic standard. Referring back to research from an earlier post of mine, this would be a key opportunity for the application of a Chrome or HDRI ball in industry practice. In theory, while preparing to film, images would be taken of the lighting and reflective Surfaces in the real live-action setting. This could then be used to apply the same lighting, and even reflections into the iron man helmet model, where it can be more effectively and appropriately composited.
Above is my initial track applied in Maya, where there is a clear match to the movement of the man’s face, there was also a glitch towards the end where I had not deleted a faulty point track. I Was successfully able to fix this in Maya by finding the faulty frame which caused this jolt and deleting it from the timeline to prevent having to re-calculate and find the faulty point.
I then expanded on from this by adding some animations to the front of the mask, to emanate the motions of the ‘Iron Mans’ mask. Concluding that I was able to successfully integrate CGI and live-action footage in the early stages of the VFX pipeline.