Manuel Perez    -   VFX Compositor

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Nike_18PS0 Nike_10WS0 Nike_14DO0 HIGH0 FAST0 RAC0 Jagger0

BREAKDOWN

COMMERCIALS SHOWREEL

- Stadium look development. It was rendered with a generic lighting setup and we used the world position pass, together with with other utily passes to give depth to the crowd and terraces.  This shot setup was used as a starting point for the the around 50 shots in the sequence as it worked regardless of the camera angle.

 

- Importing the stadium's 2 rings of null objects into Nuke we setup another script that easily translate to the other shots by replacing the camera. Using few controls set for the height and intensity of the flares. Python helped importing the 100+ null objects into Nuke.

 

- Completion of the shots by comping the multiple layers in depth, adding atmos, overall balancing of the shot and render fixes.    

- Street look development. Enhanced the starkness of the environment by making the stall the warmest spot in the shot and used atmosferic effects to connect to the dominant logo,

 

- Balanced out and gave shape to far DMP. Enhaced ground ice.

 

- Nuke character reflections by using point cloud.

 

- Completion of the shots by comping the multiple layers in depth, adding atmos, overall balancing of the shot and render fixes.  

 

- Completion of the shots by comping the multiple layers in depth, adding atmos, overall balancing of the shot and render fixes.  

- Effects look development. Worked closely with the FX Lead to

get the most of the FXs. The thick sand was rendered with Mantra, we  render the dust in deep, comped and enhanced with 2D elements in Nuke.

 

- Completion of the shots by comping the multiple layers in depth, adding atmos, overall balancing of the shot and render fixes.  

- Environment look development. Worked closely with the Lighting Lead to come out with the look of the environment by combining CG elements and Nuke trickery. Such as the volumetrics lights where done in comp using geo which helped to complete the spot lights  choreagraphy very efficiently.

 

- Completion of the shots by comping the multiple layers in depth, adding atmos, overall balancing of the shot and render fixes.  

- Environment and fire look development. Worked closely with the Lighting and FX Leads to come out with the look of the environment. The fire was shaded by using the fire luminance values to map the colour in Nuke. Most of the shots where enhanced with extra 2D fire elements, Nuke particle embers and comped burning grass and scortch marks.

 

- Completion of the shots by comping the multiple layers in depth, adding atmos, 3D interactive lighing overall balancing of the shot and render fixes.  

- Comped multiple spot motion layers.

 

- Extensive clean-ups, colour matching and animated elements enhances with and extremly tight deadline.  

- Comped him to feel integrated in an evironment by creating a generic background. Subtle volumetrics, shallow DoF and boosted the bokeh added to this photorealistic character for a pitch.

CTM0 Mog_Shot_01 Mog_Shot_02

 

- Developed the 2d aspects of the interacion of Mog with the set, shadows, reflections, reflections occluded by her...

Also added bounced light to the fur from the props on the left and from the worktop to the paws. Using the set geo and point cloud coming from deep data, we set up a network of cubes through which the character was walking and used the point matte gerenatedfrom those to enhance the lighting on Mog.

Deep data helped greatly to achieve accurate holdout mattes with the set.

 

- To solve the problem of the interaction of the children with Mog we decided to freeze her hands, stick them to distored cards attached to locators constrained to Mog's body and used deep data to hold out the fur. This also helped to give weight to Mog as the original hand was moving too easily. We repositioned the boy's hand too to match the render. Bounced light was added in comp.