CG and Live action integration
This character eats a tree seed and transmorphs into a tree-like creature. Here, you will see animated root growth rendered in Maya using Paint Effects and Mental Ray. Render layers were composited together and color-corrected to match the live action plate. In Nuke I used the Retime, Time Warp, and Grid Warp nodes to facilitate speed-up growth and interaction with a live action plate.
A clip from upcoming movie “Canyon Road” originally filmed as a night shot. Water from the practical in camera effects made matte creation difficult as well as blonde hair and yellow dress. This was overcome by a series of key pulls and color correcting in a different pipeline then shuffling the color and the alpha channels together. A distortion map added extra movement to the background plate by use of the green channel, which provided the most depth.
This is a classic 1968 film starring Steve McQueen as a tough no- nonsense detective from San Francisco. This scene is one of the first major Hollywood movies to involve a car chase. My first issue was deciding which scene to convert to 3D. After rendering out the scene using Photoshop, I developed a clean plate, rotoscoped the live action jump car, then composited it over the clean plate. I used a system of grades and rotos to isolate the luminance values and separate the car from the background. A side view shows the luminant distortion that creates the 3D effect in anaglyph.
Computer Graphics integration
A match to life project using a model rendered in Maya's Mental Ray. I composited a beauty layer using a diffuse and specular pass, then added the shadow and ambient occlusion passes. Then I implemented various nodes in Nuke to match the setting.
Green Screen and 3D tracking integration
This scene involves the main character being immersed into a Facebook- style room. Live action was shot on a double-sided green screen stage using a Red camera. From there, I color-corrected and extracted a matte. Next, I 3D-tracked the action and constructed the room. The live action was then composted over the wall movement. There were over 14 shots like this in the movie. Some involved 3D tracking, some 2D, and others were more simply composited. I used Nuke throughout this process. I collaborated with another SCAD student, Kyle Gallagher, who designed the Facebook page wall plates with After Effects.
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