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One month prior to the event, we had a Pandora and an operator in for two days for me to get training, testing the pinning/corrections on the scale set, and
general discussions with our TDs. We have a large and strong tech/production department, so working with DWP was pretty easy. We ended up making all the set elements flat. I cut seven mattes from my render point – with outlines on all the significant geometry
and UV checkers, and made a second set with an orthographic grid across the entire set - scaled to be one pixel wide when projected. Between the two, I think alignment went fairly fast.
I am still waiting for the all the time lapsed shots so I can see exactly what they did. The color washes at the base of the set was a lighting addition which
I never knew about…!@#@# (I was at the end of a six week / no break stretch, so I was recovering at home when they were doing the show). -------- Thanks for all positive comments everyone! From: After Effects Mail List [mailto:AE-List@media-motion.tv]
Really great stuff Michael! Would love to see a tutorial on it. Everyone has a slightly different recipe for production on mapping projects, would love to see how you did your previs and
then how you lined up once in the space… How much back and forth did you have to have with the engineers responsible for the 18 projectors? I've done a few of these gigs and there always seems to be
a bit of voodoo involved in getting the right settings between the media playback systems and the projectors… --
tony romain
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principal/creative director trance motion graphic animation and design 323 651 1114 From:
AE list <AE-List@media-motion.tv> I thought this might be of interest to some on the list, it is a projection mapping job I just finished in the MGM Grand Arena. It used an a 120’ x 40’ set and also the 100’ x 35’ stage as the projection area.
This clip has a time-lapsed build of the set and the Pandora registration process preceding the Opener Animation (starts around 1:03). It is a mix of 3ds Max and AfterFx. – I imported all the set flats into AfterFx, most of the outlining and 90% of particle
FXs are in AfterFx. During development, we build a 1:13 scale model of the set and I used after FX to corner pin (24planes) the output, using a 10k projector. This was a big help in visualization. Onsite: 18 projector and seven Pandora’s boxes. I am currently doing an in studio shoot, completely in AfterFx, onto a 16’x 9’ half cube. Mainly the live talent is being lit by the projection. It is a jib shoot, so the main challenge was coming up with an
AfterFx camera rig (four camera) and output workflow that facilitated full nodal pans and fast renders of the four screens. I’ll make a tutorial for the project if anyone has interest(?) |
