In a visual effects shot, this may come from a matchmove or tracking department that has recreated the camera used on a live action set.Īnimation is the next step. Flapping wings or simple mechanisms are the most you are likely to see.Ī virtual camera must be created at some point in the process. A full character rig is technically possible in Fusion, but it would not be easy or convenient, so usually only the simplest of animation rigs are used in the compositor. If the object requires any special controls to move it around, then it must be rigged. The words texture and map usually mean the same thing: a 2D image file that is applied to the mesh to modify its surface properties. Materials (also called shaders) determine how the surface interacts with light that hits it, and textures control the properties of the materials at every given location on the mesh.
That information is supplied by shading the object. There is nothing inherent to the mesh that describes its surface qualities. The geometry is merely the shape of a 3D object.
In typical usage, these three terms are synonymous. This geometry can be referred to by several terms mesh, geo, and model are the most common. First, an overview of a typical 3D workflow: The first thing a 3D project usually needs is geometry. A compositor should therefore understand 3D systems in at least broad strokes.Ī comprehensive education in 3D software is beyond the scope of this book, so the information presented here is, by necessity, somewhat shallow. For now, 3D and 2D are still distinct roles in most facilities, but each new software release brings the two closer together. Most 3D programs have 2D tools built in, and some, like Blender and Houdini, are even capable compositors themselves. Nuke and Fusion both have useful 3D toolsets built in, and After Effects users can use the powerful Element 3D plug-in. The lines between 3D and 2D visual effects tasks are blurring more and more.
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