Digital Compositor - Professional Reel 003 - Nov. 2010
Armored – “Green Screen Truck” – VFX Compositor
This was a Green Screen Stage Shot in which it needed an exterior extension, using location photography, after keying out the green screen. The shot called for a CG Enhancement to the right front fender to make it look like it had gone through a wreck. Also there was distinctive sections of the shot where the green screen spill and other color spill needed rotoscoped Color Correction. The shot was composited using SHAKE and the CG element came from a Lightwave/ Maya Artist.
The Stepfather – “Cell Screen Burn” – VFX Compositor
The 'Low Battery' message was first created in PHOTOSHOP as a single frame graphic. The shot of the cell phone had to be tightly Tracked in SHAKE so that the close-up of the graphic would not slide and would have the proper motion blur. Also there needed a small Color Correction to the battery symbol in the upper right corner from a full, green battery symbol to a one bar, red battery symbol.
Prison Break – “CG Wall Crumble” – VFX Compositor
Wall crumble was done using CG elements created by a Lightwave Artist, and was tracked & composited into a created zoomed-in plate using SHAKE.
Prison Break – “GPS Screen Burn” – VFX Compositor
GPS graphic was created, tracked and composited into the shot using SHAKE, AFTER EEFFECTS, and PHOTOSHOP.
Piranha 3D – “Whirlpool Descent” – Stereo Compositor
The Stereo 3D Conversion of Richard Dreyfuss in the boat was done using a proprietary technique while at inner-D. The technique used a Rotoscoped Depth Map to drive a Displacement Function in order to create a Left and Right Eye. This process utilized applications such as NUKE, AFTER EFFECTS, MOCHA, and SILHOUETTE.
Piranha 3D – “Entering the Boat” – Stereo Compositor
This shot of two main characters entering the boat had a lot of Rotoscoping and Tracking done using MOCHA and SILHOUETTE in order to create the Depth Map. Each of the objects in the shot, that are on different planes of view going back in space, had to be meticulously rotoscoped so that one object, either in front or in back of another object, would not grab and pull the other objects' pixel information on to its own displaced layering. Again, once the Depth Map was rotoscoped it was brought into NUKE and/ or AFTER EFFECTS to adjust levels of displacement for the desired Stereo 3D Conversion.
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