This test compiles the animation and puddle effects we received this week from our animator (Aidan Merryman) and effects artist (Will von Jess). Additionally, I have created a lighting transition using a blend between two different lighting scenarios, night and morning, as well as a dynamic key light to suggest the passage of time. All of the lights are render on separate per-light AOVs, so I have full control of their intensity in composite and can key frame when the come on and off in post as Jessica and I see fit. This was a very exciting discovery and has certainly helped us more carefully direct the tempo of the piece. My most recent test can be seen below!
One of the effects we would like to achieve for this project is the ability to transition between new and old textures in a seemingly random and aesthetically pleasing way. I was able to create a quick test using a rendered frame in Nuke. I shuffled out an ID pass for each of the objects in the shot (ID color assigned randomly) and then keyed the contrast levels of the pass in order to get the assets to transition from green to red. It's a rough test at this point but it shows some promising potential once further developed!
Material Transition Test
One of the essential elements of this project is the believably of scene as it progresses through time, transitioning from night to day. I wanted to start testing this idea as soon as possible because I believe it will require some experimentation. I have a first pass of the timing posted below. I created this basic "previs" with AI Physical Sky shader on a AI Skydome light, animating the position of the "sun" in the sky to get a feeling of the timing. The samples have been set really low in order to save on render times and I am aware of the very obvious rendering artifacts. This test is only about 400 frames, and our final piece will be 900. I am not totally happy with it, as I want to be able to really direct the lighting of each day/night and create the most beautiful shot possible. So to have those results on the screen for only a few frames wouldn't do my work as much justice and the more variations we have, the less refined each will be. With this in mind, Jess and I are toying with the idea of cutting it down to about 6 days and 6 night variations. I am currently rendering a test of this new pacing and will post it when it has finished. For now, you can watch my first pass below.
Time Lapse Lighting Test
I was also able to create a quick 150 frame compositing test for the sky in the background. I am using a blend node in Nuke to transition between 4 different photographs of the sky during different times of the day. The results aren't totally polished but upon further refinement, I think it could potentially work for our time lapse purposes.