10
Chris Forrester – Senior Compositor http://www.chrisforrester.limited +44 [0] 7719962291 [email protected] Compositing Showreel Breakdown Compositing of entire shot. The 2D bunny has digital highlight/shadows created, these are used to grade the original artwork giving the impression of 3D form. The various colours of the bunny that fall within the shadows and highlights have all been graded to create an as accurate product representation of the bunny. Shot tracked for 3D and 2D, digital pizza box made using Maya and rendered using Mental Ray. All elements composited to integrate with the live action plate. This shot required a ceiling and keying. It was tracked using Nukes camera tracker and geo built using Nukes toolset. The new ceiling was camera projected and a dark frame was placed at the end of the room to tie the four walls together. Extra light effects and warm grades were added. The fire tunnel was created using stock footage within 3D space and a camera moving through the tunnel. Blending modes were used to overlay the footage and a script was used to fade the layers as they move further away from the camera. Packshot was composited, flares and DOF added. Red nose day version created, as well as Christmas variants. Usually client facing for final amendments and approval. Multipass renders from VRay. Rebuild of those passes and grades to match clients chocolate look. The packshot had to be clean and match client references. Extra sparkles added and animated for the chocolate break.

Chris Forrester Senior Compositor ...chrisforrester.limited/wp-content/uploads/2014/10/Showreel-Breakdo… · Compositing Showreel Breakdown Compositing of entire shot. The 2D bunny

  • Upload
    others

  • View
    4

  • Download
    1

Embed Size (px)

Citation preview

Page 1: Chris Forrester Senior Compositor ...chrisforrester.limited/wp-content/uploads/2014/10/Showreel-Breakdo… · Compositing Showreel Breakdown Compositing of entire shot. The 2D bunny

Chris Forrester – Senior Compositor

http://www.chrisforrester.limited +44 [0] 7719962291 [email protected]

Compositing Showreel Breakdown

Compositing of entire shot. The 2D bunny has

digital highlight/shadows created, these are used to

grade the original artwork giving the impression of

3D form. The various colours of the bunny that fall

within the shadows and highlights have all been

graded to create an as accurate product

representation of the bunny.

Shot tracked for 3D and 2D, digital pizza box made

using Maya and rendered using Mental Ray. All

elements composited to integrate with the live

action plate.

This shot required a ceiling and keying. It was

tracked using Nukes camera tracker and geo built

using Nukes toolset. The new ceiling was camera

projected and a dark frame was placed at the end

of the room to tie the four walls together. Extra

light effects and warm grades were added.

The fire tunnel was created using stock footage

within 3D space and a camera moving through the

tunnel. Blending modes were used to overlay the

footage and a script was used to fade the layers as

they move further away from the camera. Packshot

was composited, flares and DOF added.

Red nose day version created, as well as Christmas

variants. Usually client facing for final amendments

and approval.

Multipass renders from VRay. Rebuild of those

passes and grades to match clients chocolate look.

The packshot had to be clean and match client

references. Extra sparkles added and animated for

the chocolate break.

Page 2: Chris Forrester Senior Compositor ...chrisforrester.limited/wp-content/uploads/2014/10/Showreel-Breakdo… · Compositing Showreel Breakdown Compositing of entire shot. The 2D bunny

Chris Forrester – Senior Compositor

http://www.chrisforrester.limited +44 [0] 7719962291 [email protected]

Compositing Showreel Breakdown

Created from scratch using photographs and stock

imagery. Layers placed onto 3D cards/planes, the

camera pulls back to reveal the entire scene. DOF

animated to create a focus pull.

The bathroom sequence has had a 3D camera

solved for it. This was used in numerous ways, the

shot required some clean up, along the floor and

marker removal. I modelled some proxy geo for the

toilet basin and the bleach caddy. This geo was

used to project dirt and grime onto the clean

surfaces. The track was calculated on the original

footage which was later retimed for a more

dynamic move into the toilet basin. Custom

expressions in nuke allowed me to retime the shot

and on the fly the solved camera adjust to match,

meaning I only had to scanline render what was

required and able to output this camera back to 3D

department.

We move in through the bleach caddy into the

germs world. The next 7 seconds of footage I

composited using multi pass renders. Much time

was spent on the individual germs manipulating the

passes in various sections (using rendered ID

passes) to get the look we were after. All shots

required some atmosphere to be added, this was in

the form of grading, or misty patches being added

along with DOF. Extra lighting was added as well as

some flares to help with transitions between shots

Tropicana commercial, compositing elements

rendered using VRay. Working with in the confines

of an older nuke script and look that the client was

happy with. I was taking new renders from a fresh

3D setup and aiming for the same look. The script

required a lot of clean up as it was introducing a lot

of grey fringing (from breaking premultiplication

rules mostly). Once these were all found and dealt

with, the edges were really starting to sit as you

would expect and producing a nice composite.

Various masks and ID passes were required to cut

and place elements in the correct order so that it

looked like the oranges were really squeezing into

the bottle.

There was a mixture of live action and CG being

mixed at different points to make the transition

work correctly and seamlessly. The live action had

some clean up, time restricted us on what we were

able to do. Importantly the colours of the label and

bottle were isolated and corrected to the client’s

references.

Page 3: Chris Forrester Senior Compositor ...chrisforrester.limited/wp-content/uploads/2014/10/Showreel-Breakdo… · Compositing Showreel Breakdown Compositing of entire shot. The 2D bunny

Chris Forrester – Senior Compositor

http://www.chrisforrester.limited +44 [0] 7719962291 [email protected]

Compositing Showreel Breakdown

Background composited into the shot, and a lot of

clean up was done to the bottle label. It needed to

look as if it was perfectly wrapped around the top

of the bottle with no seam showing and no scuffs.

The shot had some transforms made to it so the

move towards camera looked smoother and more

central of screen.

The sequence of Nokia phones shows at the time a

model that was not for resale yet. These were

renders to show off the phone when it was to be

released. Multipass compositing using VRay

renders. The client had a particular look for the

screen reflections, that being it had a sharp contrast

from light to a darker edge. Screen content created

in After Effects and composited into place using a

UV pass. Colour changes of the phones case were

made within the Nuke script mainly by adjusting the

diffuse pass.

This shot shows time frozen. Because of the

camera shutter speed certain items within the

frame were flickering, noticeably the orange lights

in the background. Anything flickering needed to

be static, the plate also had some clean up. The

water spilling from the glass and floating playing

cards were generated in 3D and composited into

the scene.

Page 4: Chris Forrester Senior Compositor ...chrisforrester.limited/wp-content/uploads/2014/10/Showreel-Breakdo… · Compositing Showreel Breakdown Compositing of entire shot. The 2D bunny

Chris Forrester – Senior Compositor

http://www.chrisforrester.limited +44 [0] 7719962291 [email protected]

Compositing Showreel Breakdown

I had a few days on this shot but was not able to

see it to the end due to prior personal

commitments. During my time working on the shot

I had brought in the matte painting and the geo

associated with it and started to setup the

projection cameras for various areas that required

extra lighting. The window above them and the

light on the bedding are examples of this. The

characters had been rendered minus their hair so I

could get to work doing a rebuild and setting up all

the IDs, allowing me to start adjusting their colours.

Built up from stock footage, the shot was camera

tracked and had After Effects assets placed with in

the solved environment. A look was created to

match the Modern Warfare game colours.

This shot required 3D tracking to build a wall that

did not exist, it also assisted with marker removal.

The germ monster was a mixture of a solid render,

and many particle render passes. These were

heavily manipulated to get the look we see here.

My job was to smooth out the movement of the

live action footage that was shot using a motion

controlled rig. The rig had introduced some judder

as well as working against the movement of the

talent holding the bottle. The final clip moved right

above the glass looking down on its circular top, the

entire movement needed to be timed out and feel

seamless. The footage also lacked that feeling of

being back lit when compared to the pack shot, the

labels were not on brand. These elements all

required isolating and grading to bring them

towards the clients reference. It should be noted

the bottle was shot against black, so I had to

rotoscope the entire sequence to achieve a nice

consistent edge.

Page 5: Chris Forrester Senior Compositor ...chrisforrester.limited/wp-content/uploads/2014/10/Showreel-Breakdo… · Compositing Showreel Breakdown Compositing of entire shot. The 2D bunny

Chris Forrester – Senior Compositor

http://www.chrisforrester.limited +44 [0] 7719962291 [email protected]

Compositing Showreel Breakdown

Screen content created from photographs I took of

the real menus and each menu has been animated

using those assets. Some roto work required and

animated focus change.

These three shots required animated skies with

lightning flashes. The sea was built up from various

cg passes and graded, in the last two shots we have

some live action waves/splashes that were

integrated with the CG. The splash wave I pushed

the grade to show a foamier, white edge. The 2D

characters on the ship all required there drawn

tone passes to be composited and graded to match

the brand colours.

Mouth has been adjusted to match the singing

dialog, this also involved repairing the now visible

waves that could not be seen before.

Composited with the use of Nukes 3D space,

various geometry brought in and animated textures

to be projected. Trees, bushes, and the animated

characters placed within the 3D environment. The

transition from dark gloomy scene to sunny happy

animated inside of Nuke.

Various elements of the stop motion were cleaned

up, the scene outside of the window is a CG pass

which required inserting and light effects added.

There were some practical effects shot that allowed

me to add some smoke/haze within the cooker

area.

Page 6: Chris Forrester Senior Compositor ...chrisforrester.limited/wp-content/uploads/2014/10/Showreel-Breakdo… · Compositing Showreel Breakdown Compositing of entire shot. The 2D bunny

Chris Forrester – Senior Compositor

http://www.chrisforrester.limited +44 [0] 7719962291 [email protected]

Compositing Showreel Breakdown

Mostly roto work to isolate the individual shoes as

they were animated in isolation to be comped

together during post. Some required cleanup.

Attention to detail was required in isolating the

shoes as a shape and the shadows cast by them, as

the shadow roto’s would be used to darken the

ground plane.

The dolls were brought to life by puppeteers, which

required removing from the shot. The majority of

the shot required roto work which was sped up

with various tracks being attached to rotoshapes. A

clean background was placed in and some of the

window sill was fixed.

This shot also had puppeteers moving each

animated element. Each object required isolating

by rotoscoping, and some cleanup when poles, or

hands covered the toy. Although the camera was

static during the many takes the rug and other

stationary elements got moved about, a clean plate

had to be built that worked for the final shot. This

involved borrowing from different takes, and

adding shadows not from the footage but as a

grade on the clean plate.

This shot required extensive clean up, the rigs took

up almost half of the frame. It became clear quickly

that painting out the rigs was not going to work

very well as soft shadows were constantly moving

around on the background. To add to the

complication it required being shot as 3 takes. The

background with the tomatoes, then the brush

sweeping up the carrot flakes, and the main

element of the grater and carrot. For the best

result I rotoscoped the entire stop motion, and the

outline of the shadows cast on the floor to recreate

the shot. I was able to borrow some of the

background plate as a long soft mask along the top,

which helped with the green foliage of the carrot

top.

I was involved with the shooting of this film, and

assisting with the technical requirements for

shooting stop motion. I also was compositing the

final piece, this involved some 3D camera tracking

to insert the flash animation elements, and clean-

up of the stop motion. I also had a hand in

animating some of the secondary objects with in

the shot.

Page 7: Chris Forrester Senior Compositor ...chrisforrester.limited/wp-content/uploads/2014/10/Showreel-Breakdo… · Compositing Showreel Breakdown Compositing of entire shot. The 2D bunny

Chris Forrester – Senior Compositor

http://www.chrisforrester.limited +44 [0] 7719962291 [email protected]

Compositing Showreel Breakdown

I was asked to replace the content of the monitors

and make some of the lights flash on. I was brought

on board after some failed attempts to camera

track the shot to do the replacements. Due to only

having a short time to complete the shot I opted for

a 2D fix. The shot was tracked, I used mocha pro,

and some point tracks. The new artwork was

inserted. Some rotoscoping was required to

complete the shot and it was delivered on time to

make the edit for final delivery.

I was involved with many of the shots for this film,

we were replacing the skies with timelapsed skies

that had been treated to echo/smear but keep this

feeling of instances being overlaid on top of each

other. The road and edge was cleaned up, and the

car required some rotoscopng. The second one

required a difficult sky replacement as the

background was heavily motion blurred and over

bright. Elements of the tree branches required

painting back in and edges smeared outwards to

compensate for the white edges that you often

encounter with this type of work.

CG passes composited to match the look that was

client approved, the 2D animation was composited

together using there tone pass mattes to give more

form and interaction with in the CG environment.

The R.I.P. card was inserted during postproduction

and was manually place to match the animation

reference. The explosion particles were rendered

as an element that we could use with in the comp

and matched previous adverts.

Page 8: Chris Forrester Senior Compositor ...chrisforrester.limited/wp-content/uploads/2014/10/Showreel-Breakdo… · Compositing Showreel Breakdown Compositing of entire shot. The 2D bunny

Chris Forrester – Senior Compositor

http://www.chrisforrester.limited +44 [0] 7719962291 [email protected]

Compositing Showreel Breakdown

Ironman viral video, I was involved with many areas

of these videos. I was render wrangling, animating,

and lighting some shots with in the 3D area of the

film. For composite I was removing the lady that

Ironman was standing in place of, and compositing

the CG renders. Each film was about 30seconds

long and we had three of them. This was a clip

from the dirty dancing film.

Game trailer for ‘Ride To Hell’, entirely cg rendered

and composited with multipass renders. Attention

to detail was required for the grades, and adding of

lights/glows/atmosphere within the shots. Most

shots required a little clean up where 3D geometry

was popping or not acting how it should have. A lot

of work went into making it feel fairly realistic and

that the individual renders all sat together

seamlessly in each shot.

The shot was retimed to have a fast, frantic feel to

it. The skies needed replacing from a lighter clear

sky to this darker gloomy sky. The shot was heavily

styled with its grade, and the soft focus around the

edge. This is just one shot from the many that I

worked on that required similar treatment.

Page 9: Chris Forrester Senior Compositor ...chrisforrester.limited/wp-content/uploads/2014/10/Showreel-Breakdo… · Compositing Showreel Breakdown Compositing of entire shot. The 2D bunny

Chris Forrester – Senior Compositor

http://www.chrisforrester.limited +44 [0] 7719962291 [email protected]

Compositing Showreel Breakdown

A shot from my work on the feature film ‘The

Sweeney’. Various screen replacements and green

screen work required. Commercial speed

turnaround at feature film level, this was quite

intense work. Some 50+ shots completed within 20

days. I created a gizmo that allowed me to easily

change the content of the screens once tracked into

place, I had the option of daylight/evening versions

for each image. These were also made to look like

bad CCTV footage which could be animated so the

image might look to roll or flicker. The other half of

my workload consisted of interior car shots that

required background plates to be selected and

composited into place. All shots were filmed to

have elements heavily out of focus which made any

keying a little trickier.

This is a clip of the work as it was presented on the

street. My part was to isolate some of the

characters that were shot on green screen and

composite them onto the seats. Shadows were

either extracted or faked, and a reference grade

was used to match our shots to.

Music video that required extensive keying, detail

kept around his head and within the bow. A

background template had been created that I

placed to match the camera and added various

atmosphere elements and light rays to be

consistent with the rest of the video.

Havey use of Nukes 3D environment used in this

clip. The landscape, trees and clouds as well as the

people and the heart all positioned with in Nuke.

The heart was lit and shaded with in Nuke. The

camera move was created with in Maya by the 3D

artist who did the plane and the banner.

Page 10: Chris Forrester Senior Compositor ...chrisforrester.limited/wp-content/uploads/2014/10/Showreel-Breakdo… · Compositing Showreel Breakdown Compositing of entire shot. The 2D bunny

Chris Forrester – Senior Compositor

http://www.chrisforrester.limited +44 [0] 7719962291 [email protected]

Compositing Showreel Breakdown

CG elements created within Houdini and rendered

out as multi pass elements. The shot was

composited and the wispy elements were

exaggerated to feel softer. The look was to match

the product which you see in the following shot.

I modelled, animated, and lit the CG ball. The

bunny had his tones composited and integrated

into the shot.

More animation and lighting of the CG ball. The

shot with the sun shining between the branches

was lit completely in post.

The background plate required some clean-up work

and the pack to be replaced. The bee character was

composited to look bright and fun like the

packaging. When he is in the ice cube he has a

different look to breaking out from it at the end

therefore the shot required adjusting during

different sections. The honey pots were built up

from various passes and soft glows inside and larger

halo glows added to client’s request. The product

in the spoon went through many iterations to give

it a sparkling sugar feel and match the supplied

references.