HyperBole Cinematography Breakdown

Hey Ian, mb you're reading this. I'm currently making a lot of stuff with Blender + AE workflow. Sometimes I turn on your videos just like inspiring background noise. In this video, you're talking about a lot of good and inspiring things, but it would be great to have some breakdown with software stuff, for example, if you show the process breakdown with Blender + AE including how you work with the passes, importing exporting cameras, and all the issues you face with and struggle with.

Ian Hubert

Oooooo- I like those designs!!

Zach Hoy

omg are you kidding me?! This was originally made as a background video for Dynamo Dream!?!? That inspires me, because my whole life is tangents.

Thanks. I'll watch and look as soon as my current animation render finishes.

Have to admit I thought of Ian and his floating copier character when I saw this set: https://www.daz3d.com/sky-traffic

Ian Hubert

Yeah! I'll make a new video going through it some time super soon here. In the meantime here's an old one from last year (it's still basically the same, though) :) https://www.patreon.com/posts/some-post-35533684

Carson Reader

It is called a mist pass in the render settings, I forget exactly how to do it but you can look up mist pass blender to get a tutorial or something.

Depth pass....depth pass...ok...how do I do that???

Pete Burges

Really enjoyed this breakdown. I can't believe how much you put into these shots given that you only intended them to appear in the background of a shot of a robot cooking! Also you keep knocking your skill as an animator, but I think the animation is realistic. A lot of trained character animators wouldn't be able to resist putting in flourishes, which look great but immediately give away that it's hand animated. When you are going for realism, often less is more.

Ian Hubert

The beam blow strips are just modular emission bars with an array; I didn't really have any control over "when" they happened, which is what made rendering so fun. Every frame looked different :D. Definitely could have applied the array modifier and tweaked it a bit, though! And yeah! It's the same method as in the video, but even though the markings weren't the highest res, I put a high res tiled specular map over the whole thing, which made everything feel a lot more rich and high res :D

Kevin Martin

Loved this video!

Can you show us the compositor tab for one of these shots :D or do you export all of these passes to after effects and do all the compositing there?

stellaachenbach

Thank you, that brought me so much more understanding on how to set up larger scenes!

The recording link (right link?) was in the description of the video- this is it https://youtu.be/CzhT2mbk1Qg

So uh... are we not talking about cowboy Ian?

Blake Rizzo

So good! Question! I know we had a texturing roads post on this half a year ago?? But how did you manage having precise control over massive scales of objects in the markings textures in a road that extends out? While still keeping stuff render efficient? Duplication/curve modifier like the classic lazy tut? And are those practical beam glow strips that under light the cars and create that sense of speed just big modular emission bars that you you could adjust so the timing of when they passed and lit the subject when you want?

Anthony Aragues

informative and entertaining as usual thanks! Love the crazy gauges

Glenn Stewart

Netflix REALLY needs to get you to do an episode of Love Death Robots

Great stuff Ian! I'm trying to view the livestream from last week (I wasn't there), but the original link doesn't show the recorded stream. Is there a way to see it? Thanks!

Ian Hubert

Yeah, I have a big pile of filters I dump on in After Effects. I probably go a bit too nuts with the grain (actually it's mostly a mix of grain and too much sharpening, which results in eyeball-slicing grain :P) I've been using FilmConvert for years to help deal with Log footage from my DSLR, and I just dump my low contrast color-profile renders from blender straight into it. The biggest thing I do isn't even visible- I add a TON of diffusion over everything (basically blur everything, then tone it down). You COULD do all of it in blender, for sure (although the grain gets a little wonky, depending on the implementation) I talk a bit more about it here! https://www.patreon.com/posts/some-post-35533684

Edward Lobo

I Love you Ian... This is exactly what I needed. This is the most useful breakdown ever

Eireann Hassett

Great breakdown Ian. I love the way you explain that it organically comes together at min 4:28. 😬

Luc Kleuskens

Wow. This is next level. Really good. Very helpful tips, thanks. I was wondering about your post process workflow. I notice these shot are very grainy and blurry at some points. Is that something you do in after effects? As well as color grading? or is it all in blender?

Ian Hubert

Ah thanks Luka! And oh!! Yeah I guess the most I've done at this point was back in August (I uploaded a few renders)- but I'll do a fuller breakdown soon when I upload all the 3d models! https://www.patreon.com/posts/hyperbole-40260137

gheedough

Oooh, yes please!

From studying your freeze frames I see a lot of compositing «tricks», like film grain, chromatic abberation, lens distortion, using the depth map with lighting etc. It looks amazing! I would love to see more of how you composit your sequences. 😊🤟 (I’m only half way in, mind you, so you might address these things in this breakdown..!) 😄

Luka Hrgovic

These speeders are so insanely cool that it would be lovely to see them as a static render and study them for a while. Perhaps you could just do a post with a few rendered images of each of them. Just an idea! <3

Awesome Ian! This topic translates so well into regular art disciplines - looking forward to watching it!

Thanks Ian! Exactly what I was curious on :)