{"id":499,"date":"2024-05-01T14:14:34","date_gmt":"2024-05-01T13:14:34","guid":{"rendered":"https:\/\/liambenstead.co.uk\/?p=499"},"modified":"2024-05-01T14:20:09","modified_gmt":"2024-05-01T13:20:09","slug":"vfx-sequence-video","status":"publish","type":"post","link":"https:\/\/liambenstead.co.uk\/?p=499","title":{"rendered":"VFX Sequence & Video"},"content":{"rendered":"\n

It was time for me to get started on producing the 60 second sequence using Unreal Engine. As before, I will be using the asset packs previously mentioned in the last assignment to support the sequence (Epic Games, 2016; Epic Games, Inc, 2023a, 2023b) I have already built up the scene beforehand to give me a head-start. The camera would mostly follow one side of the scene but I developed both sides if I needed to capture some shots there.<\/p>\n\n\n\n

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The scene mostly complete with background images from the asset pack.<\/figcaption><\/figure>\n\n\n\n

To get started, I have created the rain and puddle effects from the experimentation from the last assignment and activated them within the scene to capture the mood (Aspland, 2022; Cloward, 2020).<\/p>\n\n\n\n

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You can see the rain particles race to the ground.<\/figcaption><\/figure>\n\n\n\n
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Additionally, I have made sure to create the ripples too.<\/figcaption><\/figure>\n\n\n\n

I’ve begun setting up the cine cameras starting with the first scene of the sequence.<\/p>\n\n\n\n

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Adding the camera into the level sequencer.<\/figcaption><\/figure>\n\n\n\n

I’ve remade the spark effect from Dev Enabled’s tutorial (2020) and placed it where I wanted it to go.<\/p>\n\n\n\n

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Adding the spark that would come from the neon signs.<\/figcaption><\/figure>\n\n\n\n

Next up was figuring out how to toggle the sparks effect in the scene, which involves having to add a track that tells the effect to toggle (Ash, 2020; WINBUSH, 2020). <\/p>\n\n\n\n

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Toggling the Sparks effect in the sequencer.<\/figcaption><\/figure>\n\n\n\n

Continuing one with the sequence, I had to go out of the sequencer and add a little more to my scene to make sure there aren’t any missing assets, mainly the building walls.<\/p>\n\n\n\n

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The camera setup for the second panning scene as the character is walking along the street.<\/figcaption><\/figure>\n\n\n\n

The Murdock character pack came with all sorts of animations to choose from, including the walk cycles which I used as the starting point of the third Scene. I would also use the idle and run cycles later in the sequence to give Murdock some character. Now it was just a case of him using the keyframes.<\/p>\n\n\n\n

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Adding the first animation the the Murdock character.<\/figcaption><\/figure>\n\n\n\n

I also added in a quick Camera Shake blueprint for the 5th scene onwards (Beardgames, 2021). This would enhance the overall quality of the sequence and make it engaging.<\/p>\n\n\n\n

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Experimenting with the amplitude and frequency to get a nice result with the camera shake.<\/figcaption><\/figure>\n\n\n\n

I placed the camera shake track where I want it to be in the sequence. I would only use this effect for Scene 5.<\/p>\n\n\n\n

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The CameraShake blueprint track within the sequencer.<\/figcaption><\/figure>\n\n\n\n

I have gone back and remade the fire particle effect to be less blocky than last time with the desired result.<\/p>\n\n\n\n

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The fire particle effects within the canisters<\/figcaption><\/figure>\n\n\n\n

I needed to add in an explosion effect for one or two scenes. I adapted the effect from Sir Fansi’s tutorial (2021) to make a good effect that has emissive glow in the initial explosion.<\/p>\n\n\n\n

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The resulting explosion effect after seeing what is best suited from the settings.<\/figcaption><\/figure>\n\n\n\n
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I duplicated and grouped the explosion effect to make a larger one.<\/figcaption><\/figure>\n\n\n\n

The explosion method above didn’t quite work out the way I intended it, since all of the emitters wouldn’t activate at the same time to create a bigger explosion, so I just settled on having a few dotted around in the alleyway instead.<\/p>\n\n\n\n

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The four explosion emitters set to go off at separate times.<\/figcaption><\/figure>\n\n\n\n

I’ve also begun to add some audio tracks into the sequence, starting with the Murdock voices lines built into the asset pack.<\/p>\n\n\n\n

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The Murdock audio tracks that came with the asset pack, placing them in the appropriate scene within the sequencer.<\/figcaption><\/figure>\n\n\n\n

I’ve added a post processing volume into the scene to make the sequence look more nicer. I wanted to make sure that I tweaked the settings in order for the cameras to pick up the effect.<\/p>\n\n\n\n

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The Post Processing Volume in the Outliner.<\/figcaption><\/figure>\n\n\n\n

There’s also the matter of audio imported into the sequence, such as the explosion, sparks and rain sound effects to make it more immersive to the viewers. I have imported a couple of sound effects that aid in the sequence (derplayer, 2021; InspectorJ, 2017; taure, 2021)<\/p>\n\n\n\n

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The explosion sound effect in the sequencer.<\/figcaption><\/figure>\n\n\n\n
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The rain sound effect in the sequencer.<\/figcaption><\/figure>\n\n\n\n
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The running sound effect in the sequencer.<\/figcaption><\/figure>\n\n\n\n

There’s only one sound effect used that originates from the starter content, and that is the fire sparks only used within Scene 5<\/p>\n\n\n\n

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The Fire Sparks in the Starter Content.<\/figcaption><\/figure>\n\n\n\n

I’ve also added in some lines from the character that was built within his character pack that, making his reaction to what was going on in the scene.<\/p>\n\n\n\n

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Murdock lines within the sequencer.<\/figcaption><\/figure>\n\n\n\n

I’ve also added one more Creative Commons track in that of the electrical sparks that come off the neon signs at the start (weaveofkev, 2017). I had to make sure to duplicate the effect so that each audio will play on top of the beginning of the life cycle for more immersion. I also had to do this method for the explosions too.<\/p>\n\n\n\n

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To make the scene a little bit more realistic, I created a fog material to place into the post processing volume (Upside Down, 2022).<\/p>\n\n\n\n

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The Post Processing Fog Material set up to create the fog.<\/figcaption><\/figure>\n\n\n\n

I rendered out the full sequence with the built-in settings and exported the video and audio as well. For some reason, they ended up as two separate files, so I had to sync them up in Premiere Pro to get the full synced-in audio.<\/p>\n\n\n\n

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I also had to make sure the video was set to 1080p in the export window for a better result. I also had to do this method before when rendering out the sequence in Unreal to make sure.<\/p>\n\n\n\n

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Final Video<\/strong>:<\/p>\n\n\n\n

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