(For FULL shot breakdown go to my website:) esteban-olide.wix.com/esteban-olide
CG/VFX Artist Demo Reel Esteban Olide:
SEQ 1: Texas Chainsaw 3D - "Fridge head wound shot"
I was tasked with replacing the badly timed, and underwhelming practical blood/head wound effects with a more exaggerated, realistic, and gory visual effect. First I got a 3D matchmove of the scene using Nuke and Maya in order to track all my clean plates, blood, wound, reflections, 3D Geometry, etc. to the footage. I had to clean plate about 80% of the scene just to get rid of the practical blood. Then I had to fake the reflection of the actress on the door by flipping the footage and bringing the opacity down. After that I was able to bring the actor's arms and head back on top of the clean plates using keys and roto. I also needed to fake the 2D animation of the gun slide, muzzle flash, and interactive light to match that of her head movement and timing. Then I was able to composite brain/skull matter and a convincing blood hit on her head. I created the displacement effect by projecting my blood splats on to the fridge geo I modeled, all in Nuke's 3D space. After that I turned off the visibility of the 3D fridge to make it appear that the blood was sitting on the practical fridge prop. Once I was done with the left eye footage I applied all my effects and assets to the right eye footage. Then adjusted the convergence and depth for both eyes and made sure the whole shot would hold up in stereo. After that I was able to composite the shot to final.
SEQ 2: Olympus Has Fallen - "Hydra turret gun deploying"
I was in charge of lighting the majority of the 8 shots with the hydra lift, hydra turret gun, and ceiling/door hatch assets, as it deploys, and exits through the door hatch. As for the shots on my reel I did the animation using Maya making sure the timing and speed matched the shots before and after it. I modeled and textured the ceiling, door hatch, pistons, pipes, wires and duct assets using Maya and Zbrush. I did the rigging for the doors using Maya constraints, and set driven keys. I did the 3D matchmoving by exporting cameras using NukeX and Maya. Then I rendered out multi-pass EXR's in Maya containing beauty, diffuse material color, direct irradiance, indirect, raw shadow, reflection, and specular passes for all of the CG assets in the shots. Then composited these two shots to final.
SEQ 3: Olympus Has Fallen - "Choppers"
In shot 1 the grayscale chopper displays the propellers I rigged for the chopper asset using Maya blend shapes, constraints, and set driven keys. The rig was as user friendly as possible, as it was to be used by multiple artists. In shot 2 and 3 I did the final matchmove using a 3D camera track in Nuke and Maya. I was part of the animation team that was tasked to animate the chopper taking off and flying away. I was in charge of the all the shading, lighting and render passes for these shots as well as 6 other chopper shots in this sequence. Shot 4 and 5 displays some of my work in the layout and previs department, where my job was to envision and setup the placement and initial animation of the choppers in relation to the actors on screen.
SEQ 4: The Big Wedding --" CG food on plate"
This shot required me to add the missing food items that were needed to match the shots before and after it in this movie. It was impossible to track the plate so I had to key frame animate the food in Maya, and then composite the shot to final in Nuke.
SEQ 5: Stolen - "CG eyeball replacement"
This shot required the actress that was trapped in the trunk of the car to look through the hole in the back seat in a very specific manor. The problem was that the director never shot a back plate of the actress to use for this shot. So I had to get creative and devise a way to get this shot to work. I found a shot in a different sequence of the actress sitting a still as possible. Next I had to stabilize that back plate in Nuke to remove all the unneeded movement. Then I created and pieced together many CG textures to represent the vinyl car seat, the hole, shadows, lighting, and cotton stuffing. I could now very carefully cut out her real eyeball, making sure to not affect any of her eyelids or eyelashes. After that I modeled, textured, and lit the CG eyeball using Zbrush, Maya and Photoshop. The tricky part was animating the CG eyeball to the specific direction and movements requested by the director, while still adhering to the natural movement and timing of her real eyeball/eyelids. Once all of this was done I was able to composite the shot to final.
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