Hi, I’m Calvin Serrano, a VFX artist and film
maker from Germany and I was here for a week to help the HitFilm guys to recreate the iconic
HALO Jump scene from Godzilla. And today I’m going to show you how to make a plane fly,
in HitFilm, realistically. Hello and welcome to the HALO Jump plane compositing
tutorial. Today I will show you how to recreate this plane shot from the 2014 Godzilla movie.
We’re going to use HitFilm, a 3D model of a plane and an environment map that I created
with Blender, using its panoramic rendering function.
We will concentrate on the lighting and reflection on the plane using HitFilm’s 3D features.
Let’s start off my importing the material that we need to recreate the shot. First of
all I will import the two environment maps I created for this. We will a download think
for these in the description. Next we will import the 3D model of the plane.
We bought this one so we will provide you with a link to buy it yourself too. But there
are also plenty of alternatives that are free for plane models on the internet.
Next we have to find the Skrew layers and tick them so we can animate them individually.
Now we go to Materials and select the housing material. This will be like the main material
that’s all over your plane. So we will open that and change the Illumination Model from
Phong to Cook-Torrance. Cook-Torrance is mainly used for metallic surfaces and Phong for almost
any other surface. So we can choose a Fresnel mode here, let’s go for Titanium and we will
give the Roughness a value of 26% and we will increase the amount of Refraction.
You can see that when we increase this value, it kind of increases the look of the metal
itself. It looks definitely more metallic. So we’ll put this at 10% to have it subtle
but still effective and now I’ll just click OK and we can start creating a composite shot.
Let’s call this one “Plane”. I will just drag and drop my plane model into
the shot. Create a new Plane layer, leave it at black, let’s just call it “Black” too,
to have it a bit more organised. But we will rename it immediately into “Environment”.
Now put it below the plane and also drop the Environment 2 Map below everything else.
You can already hide this layer as we will use the environment viewer, also known as
the 360 Viewer to display the environment map and choose, on the layer, the environment
map picture. Now we will create a new camera layer and
rotate the plane model around its axis to look in our direction. We can also start adjusting
the camera by using these controls up here. We can move it around, change the focal length
and also rotate it. So let’s get it into frame a bit better.
I will also rotate the plane a little bit like in the original.
Let’s add the first light source. This will be our sun so let’s call it like that. Let’s
change the light type from Point to Directional. Directional lights only emit light from one
direction, pretty self-explanatory, right? Activate Cast Shadows in the Light properties.
If you don’t see the light properties. If you don’t see the shadows now you also have
to activate the functionality in the model layer itself. In the Materials just tick Cast
Shadows and you should see shadows. But you can immediately see that there are some fragments
around the polygons of this model so we can use the Self Shadow Bias to get rid of these
fragments. Let’s put it to the back so the plane is lit
from behind, a little bit like this. We can already change the color of the light
a little bit by drag and dropping this icon onto the background, like this. And then let’s
just make it a bit brighter by pulling the color down to the white spectrum – just a
tiny bit of color. Let’s get back into our media panel and drag
and drop the black Plane onto the top of everything. Let’s call this one the Flare layer.
Right, let’s put a flare effect on this layer. Light Flares, Controls. For the sun light
flare I will choose the Flashlight White type and have the hotspot position at the sun and
let’s reset the center to 0, 0 so that it’s actually where the point itself is too. And
let’s change the Blend Mode of the flare layer to screen. Let’s see, Add, yeah, let’s go
for Add. Now the flare is always where the point of light is too.
I will adjust the camera a little bit further to have a better look at the reflections.
Let’s chill down the intensity of the first flare a little bit and let’s duplicate it.
The second flare, I will change to Digital Stripe as I think it has a pretty cool look.
Let’s chill this down a little bit too, yeah like this. And I will also add a dirt map
using the Lens Dirt effect. For this I will decrease the Threshold so that we can get
more dirt and I will increase the Blur to have it a bit more subtle, like this, yeah.
Let’s also add a Blur effect to just blur out the whole Lens Flares and Lens Dirts because
they tend to look digital and unrealistic when they’re super sharp.
I will do the same with the object layer by drag and dropping the Blur effect on it and
putting it to a very low value, something around .5 maybe so we can see it’s very slightly
blurred. Here’s a little trick I came up with for the
shot. I used Radial Gradient on the environment map, on the environment Plane, with Blend
mode to Multiply. And let’s put, just a, yeah, increase the opacity to 100% and change it
from blue to just black and yeah, the white can stay. Now we can also adjust the size
of the whole thing, but first, let’s put the center onto the sun layer too. Now we can
really see this gradient in effect. Having this gradient adds to the realism of
the environment map. Alright, let’s add a new light. This one will
be our ambient light, let’s call it Ambient, put it below the sun layer and yeah, let’s
change it from type Point to Ambient actually and decrease the Intensity. For this you can
just drag and drop the color of the background again, maybe something like this, and decrease
the intensity a lot so we can just get a little bit of detail using this light, just a little
tiny bit, like this. Let’s go into the sunlight again and decrease
the Shadow Opacity a tiny bit, not much, just a very tiny bit, yeah maybe 3%, alright.
I will also duplicate the sun layer and use it as a reflection of the Earth. Let’s call
it Earth Light and put the position to 0, 0, 0 again. Put it down into the direction
of the Earth and let’s just put the intensity all the way down and also no Shadows. And
yeah, this will just be like a simulation of the reflection the Earth had on the plane.
For that we can also drag and drop the color of the Earth, like this. And let’s see how
this looks, yeah maybe just a little bit less, 3% maybe. Yeah I think this adds a little
bit of nice detail to the whole plane. We should also chill down the reflection on the
plane of the main sunlight a little bit, it’s a bit too heavy for my taste. Let’s go a bit
down, yeah, around like this, this looks good. We can also chill down the whole flare layer
a little bit to compensate for that. One of the final steps is to make the propellers
rotate so let’s just put into the search controls Z to get all the Z rotations for the objects.
So we can select all the propeller rotations holding down Ctrl and clicking on them and
then activating keyframes for all of them at the same time. Now we can jump forward
in time, I will just go to the end of the composition shot. Now let’s put in a high
number on the times value. Like 30 and repeat that for all the propellers. Alright let’s
see how it looks. If you want to see these kind of effects in the view port you have
to make sure that under Options and Playback Quality you have Final selected. I will also
select Full Resolution for Playback Resolution. Alright let’s see. Oh yeah make sure to have
Motion Blur activated for the Plane layer. Alright this is not fast enough yet so let’s
put an even higher number, maybe, let’s do 250. Let’s see how this looks. Yeah this is
better. We can also search for Orientation to get
some more variety into the propellers themselves by having them spin in a different position.
Let us go into the materials of the Plane one more time and activate Receive Ambient
Occlusion and Cast Ambient Occlusion. Let’s zoom in here. Ambient Occlusion helps to make
a 3D object feel realistic by adding shadows where edges are nearby, so you can really
see how it adds more realism and detail to spots like this.
I think the standard configuration already looks pretty cool but we can play around with
it with Intensity and the sample radius. Yeah so this is how I created and composited
the plane for the HitFilm short film HALO Jump and a little bit of color grading will
really help to pull all the elements together but this is a good starting point. So yeah,
thank you for watching, I hope you learnt something and see you next time.