Perfect tutorial. It would be nice if there is a specific explanation about Green screen scene lighting matchup. Anyway, your videos are really helpful! Thank u for making these series!
Do you find iClone necessary for animation? I have been using blender's built-in NLA strips and Rokoko's retargeting plugin to mix mocap with adjustment layers. The workflow is clunky, but tends to work. Also just a huge thanks for laying out your whole process like this. It is really cool to see someone go out there and try new and emerging workflows.
I like iClone a lot but I don't think it's necessarily. I know with things like Rigify and the NLA strips you can do pretty much the same thing, and not have to pay for iClone. But there are a handful of tools in iClone that I like, like animating hands/fingers, and the ability to blend the animation strips together so they make a smooth transition. Blender has a much more robust community so you can find tutorials for everything you need; iClone has been a little more challenging to dig through their official channels to find the solution to whatever is holding me up. I'd say on my hierarchy of skills, character animation is on the lower end for me so take my opinion with a grain of salt!
I started with the idea of having the flashing red lights, then I adjusted the scene lights to match the footage - so keyframing the red lights in the scene to sync with the footage
@@HadjFilmz Yep! First built the scene out, then we filmed on the greenscreen trying to match the lighting design. Of course things change a bit once it's all there in real life. Then I adjust the scene again to match the footage we have. But because there's a clear goal (the scene pre-built) it makes everything match up better than just winging it with the lighting on a greenscreen and then trying to make the scene fit. And of course seeing the set in Jetset in real time helps us see where lights would be coming from as if they were real
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Wow. That opening short was fantastic. Great video.
Thank you Ben!
Perfect tutorial. It would be nice if there is a specific explanation about Green screen scene lighting matchup. Anyway, your videos are really helpful! Thank u for making these series!
Looks great and thanks for sharing these information.
Hey, what's your system specs that you're working on!?
14 hours ago, 822 views, and 10k subs... nah lets make it more!
🙌
Do you find iClone necessary for animation? I have been using blender's built-in NLA strips and Rokoko's retargeting plugin to mix mocap with adjustment layers. The workflow is clunky, but tends to work. Also just a huge thanks for laying out your whole process like this. It is really cool to see someone go out there and try new and emerging workflows.
I like iClone a lot but I don't think it's necessarily. I know with things like Rigify and the NLA strips you can do pretty much the same thing, and not have to pay for iClone. But there are a handful of tools in iClone that I like, like animating hands/fingers, and the ability to blend the animation strips together so they make a smooth transition. Blender has a much more robust community so you can find tutorials for everything you need; iClone has been a little more challenging to dig through their official channels to find the solution to whatever is holding me up. I'd say on my hierarchy of skills, character animation is on the lower end for me so take my opinion with a grain of salt!
Der lord thank you I need this as I have a scifi fetuer film I want to produce but have no idea where
to begin
I hope this helps as a starting place!
How to you match the green screen color and lighting to the scene
I started with the idea of having the flashing red lights, then I adjusted the scene lights to match the footage - so keyframing the red lights in the scene to sync with the footage
@ oh so you already had the scene with lighting then build the scene around the footage
@@HadjFilmz Yep! First built the scene out, then we filmed on the greenscreen trying to match the lighting design. Of course things change a bit once it's all there in real life. Then I adjust the scene again to match the footage we have. But because there's a clear goal (the scene pre-built) it makes everything match up better than just winging it with the lighting on a greenscreen and then trying to make the scene fit. And of course seeing the set in Jetset in real time helps us see where lights would be coming from as if they were real