SGA - Film & Video Magazine - Bruce Woloshyn Q & A
From Film & Video Magazine:
http://www.filmandvideomagazine.com/...fterinter=true
(I couldn't find a date for this Q & A at the site.)
Q&A
» Bruce Woloshyn
• Digital Effects Supervisor
• Rainmaker Digital
• Latest Project: Stargate Atlantis
F&V: How did you combine Light-Wave and Maya for the Stargate Atlantis pilot?
Woloshyn: We had to displace tens of millions of gallons of water coming off the buildings [as Atlantis rises above the ocean surface]. Particle work and fog are inherently a little quicker in Maya. But because the city was built in LightWave , we had to create a conversion process to go back and forth. We’d get an approved scene file in LightWave with a stand-in of the city and the water plane so the camera was locked. We’d take a dumbed-down Maya version of the city — it wasn’t fully modeled because the LightWave model has over four million polygons — and use that for collisions so we could do all the particle work in Maya. Hundreds of passes for water spray were all done in Maya, but it lines up pixel-for-pixel with the renders coming out of LightWave .
F&V: The show was shot on HDCAM in 24p. Did you render in HD?
Woloshyn: We did some shots in HD, but we did the majority of the work on the pilot in SD, then used a Teranex to upres, and it’s amazing. I had big concerns about just moving the data around if we did it all in HD. We render all our CG at almost HD anyway, because that makes it look a little more real, and then scale it down and composite it in SD. If a shot had definite advantages in high-def, we did it in HD.
— Interviewed by Bryant Frazer
© Coyright, 2005 Digital Media Online
|*|(*)|*|(*)|*|
Morjana
http://www.filmandvideomagazine.com/...fterinter=true
(I couldn't find a date for this Q & A at the site.)
Q&A
» Bruce Woloshyn
• Digital Effects Supervisor
• Rainmaker Digital
• Latest Project: Stargate Atlantis
F&V: How did you combine Light-Wave and Maya for the Stargate Atlantis pilot?
Woloshyn: We had to displace tens of millions of gallons of water coming off the buildings [as Atlantis rises above the ocean surface]. Particle work and fog are inherently a little quicker in Maya. But because the city was built in LightWave , we had to create a conversion process to go back and forth. We’d get an approved scene file in LightWave with a stand-in of the city and the water plane so the camera was locked. We’d take a dumbed-down Maya version of the city — it wasn’t fully modeled because the LightWave model has over four million polygons — and use that for collisions so we could do all the particle work in Maya. Hundreds of passes for water spray were all done in Maya, but it lines up pixel-for-pixel with the renders coming out of LightWave .
F&V: The show was shot on HDCAM in 24p. Did you render in HD?
Woloshyn: We did some shots in HD, but we did the majority of the work on the pilot in SD, then used a Teranex to upres, and it’s amazing. I had big concerns about just moving the data around if we did it all in HD. We render all our CG at almost HD anyway, because that makes it look a little more real, and then scale it down and composite it in SD. If a shot had definite advantages in high-def, we did it in HD.
— Interviewed by Bryant Frazer
© Coyright, 2005 Digital Media Online
|*|(*)|*|(*)|*|
Morjana
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