Ripper street digital prothetic shots

[joconnell]

Heya folks!

I'll try and get some high res stills of it to pop up here but here's a wee breakdown of a shot I did for a uk tv show called "Ripper street" at Screenscene vfx. It's slightly gruesome looking in places just so you're aware. It was originally made as a prosthetic model to use as reference by us, this was photographed from lots of angles and then made into a digital model by Mudbox artist Wayne Robson who also did some texturing work on it. It was tracked by a lovely bulgarian guy called Yanko Slavov in syntheyes and then I did the lighting and materials. Here's a wee video.

https://vimeo.com/82384203

And here's a still from Ed, the vfx supervisor in screenscene vfx.

[kiteman]

Woooww. Spectacular !!!

[rivoli]

looks ace, and very convincing. especially the small detail of the tongue slightly moving as she turns her head. nice breakdown too.

[pixelplume]

great work!

[Rens]

Very nicely done! Good blend.

[joconnell]

Cheers folks!

T'was a nice one to do. We'd a great modeller and the prosthetics guy did an amazing prop for us as reference. Great comper too so all I'd to do was not totally fuck up my part of it

[lukx]

awesome

[Chris]

AWESOME! That looks great. love the dripping saliva / mucas detail.

[AJ Jefferies]

That looks fantastic. My wife watches this series and this bit freaked her out completely!

I'd love to see what the prosthetic looked like. Was the model created from scans of it or was it just used as reference?

[instinct]

Nice one John! Really dig the moving bits inside. Especially the strand of salvia. Thumbs up!

[PIXELBOX_SRO]

top stuff John!!!

[Morne]

This looks awesome!
I'm a bit unclear as to which part you did?

[DaveGrafix]

Fantastic work John, and kudos to your team! As others have mentioned, the subtle motion and shader work really shine and help sell the effect. Great integration by your compositor too, and the final grade really bakes it all together nicely. I've been having fun grossing out my coworkers with this.

As a Syntheyes user, I'm very curious how your matchmover handled this shot, considering the trackers on the deforming skin around the neck. Was the shot captured from multiple angles and mocap-solved or did you only have the 1 hero angle to work with? I don't use PF Track but it does have some nice deforming-surface tracking features that I wish Syntheyes had.

Cheers,
--Dave

[joconnell]

This looks awesome!
I'm a bit unclear as to which part you did?

Materials, lighting, rendering and whatever small amount of rigging and animation is in there - you're right though, pretty simple, quick job.

[joconnell]

As a Syntheyes user, I'm very curious how your matchmover handled this shot, considering the trackers on the deforming skin around the neck. Was the shot captured from multiple angles and mocap-solved or did you only have the 1 hero angle to work with? I don't use PF Track but it does have some nice deforming-surface tracking features that I wish Syntheyes had.

Cheers,
--Dave

1 angle in it - I've never gotten a shot with a witness cam. Thankfully for the jaw, there were plenty of solid, static points to be able to get the main lock itself since it's all a hard bone mass. For the rest of it, we just made the neck so big that it covered over all the live action one and could be tucked in behind the headscarf. On the throat part of it, we did a large enough area that it could be soft matted. There wasn't a massive amount of detailed features on the neck for you to see any slipping against.

For deformable stuff what I often do is make the 3d tracks exportable, place a mesh surface roughly the shape of the surface I'm trying to recreate in the correct place in the shot relative to whatever hard object track I have and then use maxscript to fire a ray from the camera, through the 2d tracking point to hit my new surface - you can get it to make a new null that's animating along your surface but at a depth more correct relative to the main track.