Last week I finished building the models. My plan is to fly a spaceship in a city, so I need to create a lot of building models to support my project, but creating a lot of building models, which I need to do one by one, may make me very short of time when I finally submit my work, so I installed a building generator plugin QTown, this plugin inputs various I don’t need a very detailed building model, the main focus of my work is on airships, so I generated some simple models to create.
I went on to add some fog and other particle effects to make the city shrouded in fog.
This week we produced a small commercial, first we shot video of the 360 camera at different angles and positions, we needed to deduct the green screen through nuke and composite
After I remove the green screen I start to make the background, I need to add a constant node first, then add radial, a node that adjusts the opacity of the background, then add the light beam via the sparkles node. Finally, adjust the values and merge the two layers together
In this video, I added a checkerboard, adjusted some values, added an Invert node to highlight, and created a background and video merge together. Then I added some text to enrich the picture
In this set of videos I added the Colorwheel node and did the colour adjustment, and blurring, adjusting the parameters to come up with the background. I added a line of text in front of it and finally merged it with the video that had removed the green screen
For this video I added the constant node as a background, created two cards, projected the text onto the cards and then merged them together with the video
This week I continued to work on the ship and started to do some basic modelling and particle effects for my scene.
This was my first time creating with the module Bifrost and I found a tutorial and followed it to create the clouds.
This is the basic pattern of the clouds, which will continue to be adjusted later
When I try to preview the render, Maya runs very slowly and there is too much to calculate. I tried several ways to make it faster. However, these didn’t really help. Also, I was trying to create a sea of clouds and I found that I added two clouds and my computer had a much harder time running at speed, so I gave up on the sea of clouds and in any case, things got better after I created the Maya fluid and rendered it out.
I added two wings to the sides of the plane
I then had to create a uniform material for all the glowing objects on the ship, and I created separate glowing materials for each of these models, here is the blue glowing part
This is the laser beam I made from the tutorial
When I finally rendered it, the maya software reported an error, the renderer did not know that there was a problem, after I searched, I ruled out the problems and I found a solution, with your tutorial, I finally rendered the model rendering
VR is not actually reality. VR may not actually reflect reality. Young people (and even adults) may not perceive the different between reality and VR. They may not yet be mature enough to distinguish the difference. However, VR technology are going much further than traditional educational methods by allowing humans to experience a much higher level of immersion through a virtual image. Even the gap between advances in VR technology and its application to education science is widening, causing serious concern. The advance in VR technology is value-neutral. As with all things, whether something is good or bad depends on how humans use it. VR can be useful, for example, when it enables scholars to attend an international conference without traveling to the physical convention center.
VR provides the ability to speak, listen, and discuss in real time. Those using VR can choose to view a featured or real-time image of the other participants as if they were actually at the conference. Further, remote participants can feel touch through electronic sensors attached to their body. How amazing! The problem with VR lies in the fact that we are not ready to cope with any possible harmful influences caused by advances in VR technology. But what is the “Dark Shadow of VR,” and why does it cause concern, particularly in pedagogy? Luc Besson’s 2017 film Valerian and the City of a Thousand Plants showed an exceptional VR world, “Big Market,” a shopping-focused VR platform. But such a world is no longer strictly science fiction: many large commercial companies are really building gigantic VR platforms (Kim, 2017).
VR developers boast that the platforms can be categorized based on the purpose of the VR platform, e.g., Media, Communication, Travel, Education, Games, Medicine, the Military, and even Adult Movies (Kim, 2017). Also, the platform itself may be another “false” real world built up in the VR platform that mirrors our current real life (Kim, 2017). Imagine: a person could have a dual identity for (1) real life and (2) VR life (Kim, 2017). It sounds fantastic, does it not? Unfortunately, it may not be true. Suppose that a person selects the “Adult Movies” VR platform. Using Head Mounted Displays (HMD) device and electronic sensors, a person would not only experience a vivid and lively video, but also feel a “real-life” touch. Such an option is very dangerous to adolescents because they are particularly vulnerable to sexually explicit content (Adeolu, Owoaje, & Olumide, 2016). While we cannot begin to fathom the implications, it is possible that this technology could lead to higher rates of teen pregnancy or sexually transmitted diseases (STDs) in reality (Kann et al., 2016). Young people might also lose touch with reality, mistaking the virtual world as being more “real” than reality itself. For example, a young couple with a baby were playing a video game in which they were trying to save a baby from harm while neglecting their own baby to the point that the baby died (Kang, 2016). Further, what if the real economy began to operate just like the “Big Market”?
In fact, VR developers are already creating such a VR platform (Kim, 2017). Since real estate is unlimited in the VR world, so is the amount of investment. This strongly suggests that VR as well as Artificial Intelligence (AI) can ensure that the winner (primarily developers such as Data Scientists and AI algorithm makers) takes all. Is such a situation fair and just? Here is another example: What if a person’s account were unintentionally deleted in the VR platform or removed by someone? If the account is not renewable, another socio-economic problem might arise. We should be mindful of the possible harmful consequences, the “Dark Shadow of VR,” while adopting and applying advances in VR technology to all areas of pedagogy. No matter how effective educational outcomes the integration of VR technology into pedagogy produces, nothing is more important than delivering the highest quality of education – i.e., “Putting People First” – to our next generation.
Find two sources relevant on your topic and review how the content hypothesis or findings support your investigation and help to answer the research question. This may include opposing
The production of a VR film is different from the production of a traditional film. It is a change from the traditional 180° filming, and the panoramic view requires consideration of how to shoot the extra scenes compared to the traditional filming. At the same time, the way in which VR films are shot and presented differs from traditional scriptwriting methods, and the use of coloured text to differentiate between the different zones of expression has been developed. The screen is divided into six different sections. The text in each section is coloured differently to facilitate a clear and immediate change of perspective through the script when shooting from different angles. At the same time, the images experienced at different times are linked together. In addition, the VR panorama shots required the maximum use of the ring scene in the plot.VR films are expensive to produce, while the production cost under long is generally five times that of traditional films, and a VR panoramic film of around 6 minutes requires an investment of over ten million dollars. At this stage, VR panoramic film works are still in the form of short films of about 10 minutes, which cannot be called real VR panoramic films yet and still belong to exploratory works.
In terms of comfort, there are still some problems with VR devices.For example, the weight of the VR head as a display terminal and the heat generated by constant wear affect the viewing experience to a certain extent, and the weight and heat problems make viewers reluctant to wear the head for long periods of time. At the same time, the way VR devices produce 3D stereoscopic effects does not correspond to the way the human eye is imaged; the difference between left and right-eye images enhances the user’s perception of the 3D stereoscopic effect, but can cause discomfort to the eyes after prolonged viewing. At the same time, sometimes moving the viewing angle while wearing the headset can cause trailing shadows in the picture, which can easily cause dizziness in the viewing audience.
This week I continue to create the model of the airship and I will take into account more details. This part focuses on creating the control system in the middle of the ship, I followed the reference diagram to add the different parts and assemble them
I have combined all the models I have made and previewed them. The hull of the ship is still lacking in detail, so I will continue to create unused parts to enrich the hull of the ship.
This is a small launcher I created to mount on the front fuselage of the aircraft
This is the base of the transmitter
This is the top beam, I plan to place a laser projector on the top of the ship
After creating roughly all the parts, I combined the model on one side and made a special copy to see the effect, after which I would continue to modify the model and continue to add details to enrich the technological feel of the ship
Virtual Reality (VR) is a computer-generated environment with scenes and objects that appear to be real, making the user feel they are immersed in their surroundings. This environment is perceived through a device known as a Virtual Reality headset or helmet. VR allows us to immerse ourselves in video games as if we were one of the characters, learn how to perform heart surgery or improve the quality of sports training to maximise performance.
Although this may seem extremely futuristic, its origins are not as recent as we might think. In fact, many people consider that one of the first Virtual Reality devices was called Sensorama, a machine with a built-in seat that played 3D movies, gave off odours and generated vibrations to make the experience as vivid as possible. The invention dates back as far as the mid-1950s. Subsequent technological and software developments over the following years brought with them a progressive evolution both in devices and in interface design.
Virtual Reality vs Traditional Film
1 VR production requires some specialist equipment that can seem incredibly intimidating, not to mention expensive. At the very least you will need a 360 camera rig and editing station (with an i5 processor or above), as well as a PC and headset to review the footage.
2 VR film sets have their very own ‘danger zone’ – usually a radius of 1.5 meters from the camera rig. Anything filmed in this zone will come out weird and blurry so your production team will need to keep it clear of any people or objects that could distort the shot.
3 VR is relatively expensive to produce. It costs more to produce than 2D, not only in terms of equipment, but also in terms of the number of people needed to work on a video shot in 2D, which usually requires a producer or director, cameraman and sound recordist. But VR post-production includes a producer or director, camera operator, digital imaging technician, sound recordist and runner, and a VR project can consume the entire marketing budget and then the cost of bringing it to market.
VR Immersive Experience
VR film and television is not simply an audio-visual appreciation, but requires the use of head-mounted displays, data gloves and other devices to achieve an all-encompassing immersive experience If one wants to experience VR films, apart from going to a professional cinema, unlike traditional cinema, it is difficult for viewers to experience immersive VR films at home, and if one has an Oculus Rift at home, viewers can only immerse themselves in as many platforms as possible through VR content: from Google Cardboard to YouTube to Sulon Q. While VR videos create great experiences, there aren’t many VR movies on the market as they do take longer and cost more to produce.
There’s also motion sickness to consider when creating content that must be viewed with a headset, and making sure the viewer doesn’t get too sick (remember when Nintendo’s first attempt at VR made people literally vomit?). Relatively static shots are best because they allow viewers to move their heads freely and enjoy the immersive experience without unpleasant side effects.
This is my main reference model of the airship, I want to base the external shape of my airship on this one, as shown in the picture, so this week I will continue to create the fuselage part
This week I have continued to create parts for the side wings of the fuselage, this is one of the link plates for the side fuselage, I have made a groove to act as an energy slot for the ship, later I will create some light effects to show the energy level of the ship.
These are some of the small parts I made to mount on the link plate to enrich the detail of the fuselage. I created a small wing, and a part that resembles a fan to dissipate the heat.
I then assembled the parts created above, once the assembly was complete. I will add more details later on.
Next I will create the overall strut of the fuselage and the cockpit at the front of the ship.
The cockpit is a circular model and is a sealed object wrapped in metal, so I’m going to create more detail on the disc, first I’m going to create a circular model on the top of the cockpit and then I need it to be connected to the bottom model and have a welding effect.
I then combine the fuselage and the cockpit
This is a combination of the side model and the front fuselage
The next thing I made was the rear thrusters. After looking at various models of the ship, I decided to make the rear emitter a large circle with some lighted energy strips inside to give the ship a more technological look.
This is the part where I created the connecting rod to connect the tail emitter to the fuselage better.
I went on to create the energy for the tail, which I assembled in eight trapezoidal pieces, and will also add a glowing effect to this part later on.
In this two-week course we started in the green screen room. The green screen is all a backdrop for filming stunt shots, where the actors perform in front of the green screen, captured by the camera, and the images are processed in the computer to get rid of the green in the background and replace it with other backgrounds. Nowadays, in some films, it is possible to shoot all in front of the green screen without using real backgrounds at all.
For this week’s assignment I needed to create two small planets to match the movements of the actors in the video, first I used Keylight to remove the green screen, clicking on the colour swatch next to the screen colour to activate the dropper. In the viewer, hold Ctrl/Cmd+Shift+Alt and click and drag a rectangular area over the blue pixels, selecting the screen colour will create a screen mask and remove the foreground. Then use Roto to remove the chandelier at the top, I need to adjust the resolution of the video to better match the background video
In the second step, I create a 3D scene and a card just for my character.But at the end of the merge, my image became very grey and felt like it was covered by a grey layer. After checking, I found that my uniform scale value was set too high causing the image to be unclear.
Next, I downloaded a 4K ocean shot and the first frame of the frame hold and created a card to set it up as a 3D scene.
Finally, I found two pictures of the planet to enrich the video
Virtual Reality (VR) is the virtualisation of the real environment to create a non-real world that exists only within the computer. VR generates extremely realistic and vivid virtual things through computer technology and allows viewers to interact with various things in the virtual world in a natural way through special input and output devices to achieve a perceptual experience and a deep sense of immersion. The visual environment generated by VR technology is three-dimensional, and the sound effects are also three-dimensional, ensuring a realistic sense of human-computer interaction and a high level of immersion and interactivity.
Virtual reality is making its way into almost every industry. From medicine to education to gaming and fashion. Movie studios are also increasingly experimenting with this unique technology to enhance the experience of users within digital environments.
With global lockdown measures keeping billions of people at home, sales of VR headsets have skyrocketed in 2020. Last year, the number of shipments for AR / VR devices reached a stunning 5.5 million, and that figure double by the end of 2021.
Needless to say, entertainment companies have been looking at VR as a possible way to bring real-life emotions to digital environments. PlayStation is a perfect example of how companies keep betting big on this technology. The PSVR currently retails at $299, down from a 2016 launch price tag of $399. The company has expanded its library of VR games from the good old Star Wars Battlefront to the most recent VR-exclusive titles like Beat Saber, and Blood & Truth.
As most theaters remain shut, movie studios are looking for alternatives to provide viewers a cinematic experience from the comfort and safety of their homes. Apps like Bigscreen — a VR software solution that recreates cinema’s “big screens” — or Netflix VR are already trying to capture growing demand in this still nascent niche.
VR technology will not only affect the traditional way of watching films and TV shows, but will also drive changes in the way people consume entertainment. VR technology offers people the possibility to interact and dialogue with the world and to perceive it in its full dimension. As a new technology, VR technology has brought many questions and thoughts to the academic community: Does VR technology bring a new approach to film and television aesthetics? Is the traditional critical theory of film and television applicable to the critique of VR film and television, and is the audiovisual language of VR independent of traditional forms of film and television expression?
Based on VR technology, I will explore the issue of the audiovisual language of VR film and television technology from the perspectives of technical aesthetics, documentary aesthetics and immersive experience, and re-examine the issue of authenticity and virtuality of film and television media expression.
