Magic Show Progress Update

Hello all,
I've finished my script and loose boards for the first magic show. What started as a simple idea for an ice spell has become a lot lot larger. For example, originally there was only one script, but now there are five... each covering a different element or force, sigh. Then the first script was initially a simple effect show off, but now there's a little set up and stuff. I think I'm going to work on the hardest shot first then determine how much help I'm going to need to finish it! haha!

Now that the boards are close to what I want, I'm going to start building the environment for it. Its going to be an abandoned subway station entry way. The stairs to the train will be sealed or covered with rubble. The whole thing is going to be lit with magic lights... but I'm getting ahead of myself. I need to build the geo and set up the scene and light it in Unreal. After that I'll do the first environmental VFX pass and see what it looks like. I'll start the scene based on these shots I took around NY and go from there.

I'm going to do a concept using the references above. I'll probably take a couple more reference shots today, but it shouldn't change the initial space. Chances are, there probably won't be as many supports, but it depends how the scene progresses. The concept will also have a color scheme and a lighting test. This will also help me come up with a list of items, so I know what else I need to build. That will be my next post, with a plan on what I'm building and an art direction, as I don't want it to be 'realistic' nor do I want it to be 'comic book'.

Until next time... (BTW this is not an April Fool's Joke).

Fred

VFX Student F.A.Q.

Hello all,
I've had a number of students send me mails asking questions about real time VFX for games. A number of questions have been the same so I figured I'd post them in case a student came by and had a question here or there. Feel free to ask if your question is not below.

Ok here goes:

1) Are there any books I can read for creating VFX? 
I think Elemental Magic Vol 1 and 2 are great starts to get a handle on forces and an overview of elements and visual fx in general. Its a great base to build from, and I can't suggest the two books enough. There aren't a lot of books out on the subject that aren't a part of a tome sized instruction manual. I've used some of the maya innovator books, and I've looked into a dynamics workbook, but generally its more beneficial to look on line for solutions for direct problems.  I've done a couple book reviews here take a look: http://fhoopfx.blogspot.com/2011/02/book-reviews-elemetal-magic-and-maya.html

2) What programs do you use?
Being a VFX artist is a learners profession, meaning that you'll be continually picking up and learning new tools and techniques as new problems and technical benchmarks arise. So any tool that you have a chance to try out or use then use it and try out experiments with them! I've learned the most when I've failed, since those experimental setbacks have caused me to look at my VFX issues in a new light and I come to a solution that is better or new... eventually... haha. Before working with VFX, my background is in traditional and digital illustration, textures, skinning and modeling, so I have a working knowledge of mesh generation, normal maps, specular maps, general texturing, and UVing.

I use Maya for modeling and dynamics to generate fluid simulations, Photoshop for general texture creation and editing, AfterFX for looping and FX work for the renders, Premier for editing. I mess around with Zbrush, and general modeling stuff. Lately I've been looking into Houdini, Nuke and physics based destruction sims to see what they can do. I use the UDK for building shader materials and I use it as a work table for some effect tech I want to implement. The beauty of that is its free to use, and is an invaluable tool for testing ideas. They also have a searchable database on their engine and they've put out a couple pages that are invaluable for VFX for the UDK.

http://udn.epicgames.com/Three/FXArtistHome.html

http://udn.epicgames.com/Three/VFXOptimization.html

To build in game effects, I'm usually using an in game tool or a proprietary toolset to build particles and emitters. I know some studios use a limited data set from 3d packages directly in their games. All in game VFX systems have their quirks, learn them and learn how to troubleshoot your VFX. There are a lot of smoke and mirrors in the job, the best way to do that is to learn your system.

3) Do I need to know HLSL/python/MEL to do VFX?
Its always good to gain a working knowledge of any scripting if you have the time, since it will help you to communicate with a tech artist or a programmer. I don't know any of these scripting languages directly, but I've looked into them enough to talk with others about what I'm trying to do. Its also helped with my experiments in Unreal materials. The realtime rendering books are also good to look at for getting a general idea on graphics pipelines and rendring... a bit math heavy, but there are some good nuggets of info there.

I would say if you learn anything like this learn how to make shaders/materials. The easiest way is to download the UDK and start with the Unreal Material system. The more options you have with your Visual effects the better.

4) How do you get a flipbook/subUV from Maya to a game state?
I have a blog entry that goes over the procedure to get frames from a render to a game state (Unreal 3). Its here:
http://fhoopfx.blogspot.com/2011_04_01_archive.html


5) How do I break into video game VFX?
This is a matter of debate. For me I was already in a game company when I was figuring out how to make VFX. First I'd cut a reel of your Visual FX work and see what that yields. If you're not working at a game company and want to get into it, start looking at the UDK and learning how to make VFX textures, shaders and using Cascade. Then I'd either work on that and cut a reel or find a mod group that is looking for someone to make VFX for them.

6) What should I put on my demo reel?
This question is another matter of debate. Before starting, ask yourself a couple questions. What games and VFX are you looking at for inspiration and how do you compare to them? Can I do anything else to my work to give it a little extra polish? What kind of game company do I want to work at?

So what should you put on your demo reel? The easy answer is your best stuff.

I've looked at a lot of VFX reels and talked to a couple ADs on this and generally try to keep your reel between 2 and a half to 3 minutes. Its a good way to limit yourself from going overboard and to edit your own work to a manageable state. As far as what to put on there, if this is your first reel, then I'd cover as many elements as you're able to do. Fire, water, water splashes, full screen FX, environmental effects, weapon and hit effects, explosions... and if you can, cater some of the reel to the company you are applying to. If you don't have all of that then that's ok, but show your best work. Before sending it out, have some other people (instructors, forum peoples) to look at it, getting more sets of eyes on it will help you make informed decisions. Its easy to fall in love with a shot or over work a reel, so getting an outside opinion always helps.

This is a personal preference, but I like to show all of my VFX in context. In game if possible, although I've seen reels with tests from a third party product in them that are good too (like fume or fluids). Usually they transition from the test to in game to show its use. If you can't do all of that, then make sure all of the stuff you do show is worth showing. I've seen long kitchen sink reels that aren't all impressive and short reels that blow me away, so don't automatically think that if you have a lot of footage that its good. Remember to have a call out sheet if multiple hands have worked on the scene or VFX.

This is a little harder but try to treat the reel like a trailer. It sounds hokey, but if you look at it as a trailer with beats, and rhythms then you'll have a more compelling cut and will be more impressive. If anything, start and end strong.

7) Will you look at my reel and let me know what you think?
Sure I'd be happy to look at your reel if I have time. It all depends on how tight my deadlines are and if I have some free time to give good feedback.

Ok that's it for now, if I get any more questions I'll do an FAQ part 2! Thanks for reading.

Fred

Back from space

Hello all,
I'm back and in the states with a new computer! I'm going to be posting a new series called the Magic Show soon. Working on it right now! More to come.

Fred

Until the new year

Hello,
I'm going to be off line for a little bit. I'm moving this week then heading out of the U.S. for a couple months. I'm starting a job at Avalanche Studios, doing VFX. To say I'm excited is a bit of an understatement. After I get back I'm going to start a series of VFX called Magic Show. I don't get to do a lot of magic type effects, so I wanted to stretch my legs a bit with this project. I'm working up the concepts now, and convincing some of my animator friends to help with the character animations. I'll be posting more about that in the new year. Thanks for coming by and until next time. Have a good holiday!

Fred 

Basic FX Materials in Unreal

VFX Materials
The Material system in Unreal is an amazing tool, since it has so many options and ways to achieve the same result. VFX rely on slick looking materials to achieve their visual target. Today, I'm going to go over the basic materials I use for sprites in Cascade.These are the three work horse materials: Additive, Traslucent and Modulate materials. This post will not be going over lit (sprite) or model materials for cascade as I'll be doing that in a later post. You should have a basic understanding of Unreal's material system.

Material links to the UDN
FX Artist Home 
UDN Materials Tutorals
UDN Materials Compendium
Depth Bias Alpha

Definitions and uses:
Additive Materials: Fire, motes, energy, glowy bits: Additive materials add the sprite against the scene, similar to a Screen blend in Photoshop.
Translucent Materials: For smokes, and faked debris bits: Translucent materials use the source color of the sprite and adds opacity (alpha) to it, then blends it against the scene color.
Modulate Materials: Dark smoke, decals, and some smaller debris: Modulative materials multiply the sprite against the scene, similar to the multiply blend mode in Photoshop.

Before we start
Import textures into unreal that you can use for this test. Make sure all textures are targa and are power of 2.
Additive texture: Black is knocked out, so anything black will not display in an additive blend mode. Remember to make sure the texture uses the space well since the sprite will still need to calculate the unseen areas. This can have an alpha texture but is not necessary for this case. 
Translucent texture: This can be any kind of texture, with an alpha channel that will serve as the knock out. For example if you wanted to have a leaf texture. the RGB would support the color and the alpha would serve as the transparency.
Modulate texture: This is the polar opposite of the Additive. White is knocked out and colors are multiplied against the scene. This can have an alpha texture. 

Additive Material Base
The basic material will be set up in the emissive, and to get anything in game you'll need very little. The following material will have static switch set ups for UV distortion and near fade and a control for depth bias alpha. This will look like this when we're done.

 I'll be breaking down each commented section while we go.

First, In Material make sure the blend mode is set to Additive and the Lighting Model is unlit. In Usage make sure the Used with Particle Sprites and Used with Particle SubUV is checked, otherwise the sprite will not display when you get it to Cascade.

Next drop a Param2d (name it Emissive), a Vertex color and a multiply module near the Emissive hook up. String the modules up like this

Vertex color mult by the texture equals Dynamic color changes in Cascade

This set up will allow you to change the color of the RGB values of the texture in Cascade dynamically. I use this for 99.9% of all FX materials that I use unless I know for sure the color of this will never be changed. At this point you can start working with the sprite in Cascade. This is really all you need. I usually add a couple other properties to the material, since I tend to need them in most particle systems. (Note: Make sure you string this into the Emissive, if you hook it into the diffuse it will appear solid black).

Save your material and package.

Distorting the UVs
Sometimes you'll want to distort the UVs of the texture for fire or to give the surface some extra motion. Set up the following like this and string it into the UV hook of the Param2d Emissive module.

• The Panner moves your texture in the U and V space as well as controls time. 
• This is hooked into the UV in of the Param2d UVDisort Texture. The green channel is multiplied against a parameter to control the intensity of the distort and is added to a texture coordinate module (I used the green channel since it had the most contrast). 
• This creates a surface that can be distorted against the Emissive texture. 

The Switch parameter is set up in case we want to use the distortion. The A channel is the UV Distort option while the B channel is no distortion and is the default in this case. The switch parameter is an if/then statement and will show up in INST materials.

DepthBiasAlpha
One of the functions of Depth Bias Alpha is to remove hard lines of sprites crashing into geometry. The set up is really simple. All you'd need to do is set up the DepthBiasAlpha module and string it into opacity. The lower the number in the depth bias the less smooth the blend and also the larger the blend. Experiment with this until you get a result you like (defaults to 250). The UDN has more info on this magic module here.

Near Screen fade. 
This next set fades sprites based on its camera position. This keeps sprites from crashing into the camera. Set up the following and hook it into the DepthBiasAlpha Alpha entry:

• This takes the screen position and masks the Z position, since most sprites are camera facing on the Z axis, then multiplies a distance from the position and clamps it 0-1 to avoid some visual artifacts. 
• This is then hooked into a switch parameter in case we want to use this functionality. 

From here create an instance of this that you can use for material variations.

That's the additive base in a nutshell. All the other materials are similar to this so I'll be working on the exceptions from here on out.

Translucent Material Base
This is the easiest to change since the base of the additive is most of the work. There are a couple things you'll need to add and change.

First make sure you make a copy, rename the material and change the blend mode to Translucent

Next Add in 2 multiply modules, a Vertex color and a constant clamp and set it up like the following:

• Hook the alpha (white connector) if the Param2d Emissive to one of the multiply nodes A and connect the DepthBiasAlpha to B. 
• To make the alpha dynamic in Cascade hook the Vertex color module and the other multiply. Then set up the constant clamp from 0-1 (default) and hook it up to the opacity node. 
• This will keep the alpha multiplies within a 0-1 range.

You can now use this in Cascade as a translucent material. You can control the color and alpha of the sprite using the color modules. The rest of the material should look like this:

Modulate Material Base
This one will be a little different. The base is still the Additive material, but we're going to need to treat this as everything is blending to white instead of black, since this multiplies its values against the scene. (Note: as of this post I was getting an error with the modulate blend mode against the DepthBiasAlpha node, so it will be absent from the material. I'm looking onto it and will hopefully have an update to it soon)

First thing you'll need to do is change the blend mode to modulate

Next you'll need to re-string a couple entries to make the modulate blend mode work. Change the texture to the modulate texture and add in a Lerp(linearinterp), a constant, an add a constant clamp module. Set it up like this:

This is what this is set up to do. Again we're blending to white, since its a modulate texture

• The Lerp is using the vertex color (alpha) to blend the texture from its surface to 1 (white)
• The vertex color is also set up to control the color of the texture (black node to mult B)
• The alpha of the modulate texture is masking the edging of the surface so if you change the color in Cascade it only covers the circle (in this case)
• The Add module combines the mask and the lerp controls
• the Constant clamp keeps it within a 0-1 range

The near fade:
The way the near fade is set up now is to blend to black, so we're going to need to change that. Drop a oneminus near the fade and set it up like this:

• Place the one minus module between the multiply and the constant clamp to switch the black to white.
• Then change the constant from 1 to 0 out of the Switch parameter, otherwise the base material will appear as black
• String switch parameter into the add and then hook the whole thing into the Emissive. 

That should give you a modulate texture, that you can start to use in Cascade. I hope this helped and wasn't too confusing. I'm going to try to get at least one more post out before I am out til the new year. Thanks and until next time.

Fred

FX Optimization and where have I been

This post is about FX optimization... the good thing is, I'm not going to write it. Tim Elek over at Epic posted a great Wiki on particle system optimization with an easy to use link system based on potential problems and whatnot. If you work on particle systems and manage overdraw at all in Unreal this is an essential read.

UDN FX Home

Direct link to UDN FX Optimization

Tim's blog is here, it has some good insight on Epic and everything FX and Tim!

http://derelict-compendium.blogspot.com/

So where have I been?
The reason I haven't been around a lot is I'd been let go in the lay offs at Kaos, and I'd been looking for work for the last couple months. I will be working for Avalanche Studios starting in October. I'll be out of the country learning their tech and helping out until December, so I'm going to post a couple things before I go.Also I have plans for a series that will cover a number of non realistic fx from concept to completion. I will tentatively be calling it Magic show. The plan (for now) is to pick an element and build a set  of meshes, materials and particles from each type. I have a concept for Ice and fire, but after that building from the ground up and work it step by step in Unreal.

The next post will be more or less a basic materials set up for particle system types. This will not cover some of the more recent additions to Unreal's Cascade, but it will have the base that is necessary.

Until next time.

FX Reels

FX Reel 2010 Contact fhoop@rocketmail.com



Fred Hooper FX Reel 2010 from Fred Hooper on Vimeo.

Shot breakdown for 2010 reel

 


Homefront Reel


Homefront FX Reel 2011 from Fred Hooper on Vimeo.