00:02:09 - Friendly Fires, Hurting Music Video - Object Matchmoving 00:06:19 - National Car Rental App Commercial - Fluid Simulations (Smoke) 00:09:18 - Flying Lotus, Tiny Tortures Music Video - Smoke Simulations, Additional Animation, Object Matchmoving (Rotomation) The video was nominated for a MTV VMA for VFX. 00:18:15 - Strife: Rook, Imaginary Forces - Smoke Simulation R&D 00:23:17 - 00:37:20 - Department of Defense TVC - Creative Director (Concept/Pitch Stage), All VFX including Set Supervisor, Compositing, on screen Phone Animations, Digital speedometer needle, Tracking and Previs. 00:37:21 - White Rabbits, Heavy Metal Music Video - All VFX including Compositing and Roto. 00:40:12 - 00:48:02 - Late For Meeting - Smoke Simulations 00:48:03 - SIGGRAPH Presentation Render - All Aspects, Plate Photography, Camera Mapping, Modeling/Texturing Trash can, Paper Dynamics, Lighting, Smoke Simulation 00:52:02 - Pyrrhosoma - Co-Directing and Concept, Compositing, Toad Sculpting, Painting, Pose Morphs, Animation, FG Plant Model and Animation and additional Scene Lighting. 01:00:05 - Phantogram, Music Video - All VFX including Smoke Simulations and Compositing. 01:04:07 - BCFD TVC - All VFX including Set Supervision, Previs, Compositing, Fire/Smoke Simulations, Matchmoving and Roto. 01:06:16 - What Kind of Man, Poser Design - All Aspects (Sculplting, Lighting, Particles, Fracturing and Compositing.) 01:08:10 - FCU, Web Series - Helped Steve Macowski with tracking, screen replacements, compositing, Additional Keying and additional Morphing effects 01:11:07 - Friendly Fires, Hurting Music Video - Object Matchmoving 01:15:23 - Rich Hill, Feature Film (Grand Jury Prize Winner at Sundance) - Digital Artifact Cleanup 01:17:20 - Personal Project made durring Cinema 4D Beta Testing - All Aspects including Plate Photography. 01:21:04 - Awful Nice, Feature Film (Premiered at SXSW) - All VFX including CG Black Eye, Compositing and Tracking. 01:21:04 - Awful Nice, Feature Film (Premiered at SXSW) - All VFX including CG Picture Frame, Compositing, Dynamics and Tracking. 01:35:14 - BCFD TVC - All VFX including Set Supervision, Previs, Compositing, Fire/Smoke Simulations, Matchmoving and Roto. 01:38:04 - 01:44:09 - The Smithsonian X 3D - Matchmoving 01:44:10 - Client Pitch Project - All Aspects 01:46:03 - Arms, Heat and Hot Water Music Video - All VFX (added CG Lightning and clouds to match some of the real lightning, Compositing and Tracking) 01:48:07 - United Way TVC- Creative Director, All VFX including Set Supervison and Hand Colored Look Development. 01:50:00 - Piglady, Short Film - All VFX including CG Gore, Tracking, Liquid Simulations and Compositing. 01:54:04 - Personal Project - All Aspects including Flocking Simulation, Modeling, Rigging and Animating a 3D bird. 01:56:20 - Personal Project - All Aspects including the Dynamic Simulation 01:58:00 - Outro - Smoke Simulation
The Mill's VFX team created a massive amount of CG snow and ice roiling intensely around a victorian, larger than life snow globe. Watch the side-by-side comparison to see the CG flurries come to life in the whirlwind effect,. Artists also added details of dust and snow to the vegetation and a frozen tree explosions, gradually building up the snow environment to blizzard like conditions, creating the snow globe effect. Find out more about the work at: themill.com/work/wrigleys-5-gum-snowglobe.aspx
Continuing a long relation with Lakeshore Entertainment, Executive producer and visual effects supervisor, James McQuaide, asked Celluloid to take part of the shooting of “Underworld: Awakening” as set-supervisors and vfx consultants, as well as supervising the LIDAR scanning of all locations and set pieces.
As an obvious result of the work done on set, Celluloid was awarded a large amount shots on the film. In the first batch we were to heal wounds, add smoke to environments, add lots of blood, add breaking glass, develop a look for a POV effect and add ice crystals, drips, drops, steam and smoke to a slowly defrosting Kate Beckinsale. Having been part of the shooting in Vancouver, it allowed us to be part of some of the most important shots in the film, from conception and shooting through final delivery.
Half way through the project we were asked to take on another sequence involving set-extensions and the development of a near-future city background. In just five weeks we put together a team to handle the nearly 30 shots. The result was a fantastic looking sequence with Kate interrogating a man while pinning him against cg glass and finally smashing him through it, showing the scale and magnificence of our vast CG backgrounds.
Apart from one 2D sequence in the film, every shot was rendered and composited in stereo 3D, adding an immersive experience for the audience but also a technical achievement for us.