My role on this french feature film started off as Lead Nuke Compositor where I was responsible for setting up Hero shots for key sequences and worked closely with the vfx supervisor in Belguim (Ace Digital) and Paris (Mikros Image) to nail the look of the CG compositing to a final comp level, once approved the other compositors on the team would then work on the rest of the shots based on my approved final shot.
Later on in the project I became the Compositing Supervisor and was responsible for looking after the compositing team and assigning shots to them and supporting them technically and creatively as well as take on compositing shots from scratch to finals on the more tricky shots which required close direction from vfx supervisor and director.
I also worked closely with the internal CG department at Ace Digital as well as the CG team at Mikros Image in Paris to develop workflow solutions to get the CG passes rendered and streamlined over to the team to comp the shots.
Most of the compositing work involved blending the CG into the live action plate (trackers removed by prep team), using a combination of tracked roto shapes, edge blurring and Nukes STMAP feature plugged into the CG UV pass.
Many of the shots I worked on had moving lights and shadow changes in the live action which he needed to mimic onto the CG passes by key-framing grade and CC values using the normal passes and several ID mattes plugged in.
Three different techniques used to manipulate a face. All cg replacement, combination of prosthetic and cg, and finally camera mapping. Three techniques with different pros and cons - and different price tags.
Material from Frostbitten, Let the right one in, commercial for Nokian Tyres.
Another weekend of fun ;).. After a quick re-think for the obj importer, and coming up with an alternate way to bake the projected marker data at the beginning of the week, that wouldn't take 18 hours to do... now can bake 200 frames in 12 minutes... here's more of the 4D tests.. all the way to projected texture.