SHOTS 1 & 2 (0:00 - 0:15)
Internet Commercial for Audi Configurator. (Nuke): CG composite. All colors made in Nuke. Cleaned up original footage as the sedan car is longer and lingering items of the smaller car remained.
SHOT 3 (0:15 - 0:24)
Car show Shanghai for Porsche Panamera (Nuke): CG composite of the enviroinment and the white car.
SHOT 4 (0:24)
Feature Film Rush (Nuke): Full Comp. Footage was re-sped. Had not only to clean artefacts but also separate elements and give different motion blur according to distance from camera to enhance the idea of high speed.
SHOTS 5 - 12 (0:24 - 0:42)
Feature Film John Carter (Nuke): Stereo Composite. A lot of the scenes had to be entirely re- created as much of what was used in 2d composite did not work when re-projecting the images into 3d geometry.
SHOTS 13 & 14 (0:42 - 0:46)
Feature Film Total Recall (Nuke): CG Composite of ‘prongs’, the shrapcam projectiles of the guns
SHOTS 15 & 16 (0:46 - 0:50)
Feature Film Total Recall (Nuke): The actor had a white tattoo, had to convert it into black. Rotoscoped it as a key was not retrievable due to very poor lighting pre-grade
SHOT 17 (0:50 - 0:51)
Feature Film Total Recall (Nuke): Clean up of extra cameras
SHOT 18 (0:51 - 0:53)
Feature Film Total Recall (Nuke): Wire removal and rotoscope.
SHOT 19 & 20 (0:53 - 0:59)
Feature Film Broken (Nuke): Microphone removal from actress T-shirt
SHOT 21 (0:59 - 1:00)
Feature Film Broken (Nuke): Split screen. Top footage shot separately, had to stick together.
SHOTS 22 & 23 (1:00 - 1:03)
TVC for E4 ‘Beaver Falls’ at The Mill (Nuke): Rotoscoping each character, the bus stop, the sign and floor separately
SHOT 24 (1:03 - 1:06)
TVC for Ericcson ‘The Networked Society’ at The Mill (Nuke): Paint patch the belly to remove the stretch marks caused by the pillow
SHOT 25 (1:06 - 1:07)
Short film, through Escape Studios(Nuke): Used Nuke for with camera projections, roto paints for setting up clean plates and rotoscoping the main characters back and gap for the clean plate to go under. The shot was tracked so that the clean plate would follow the camera. The task was to remove the rig and the bulge of his back.
SHOT 26 (1:07 - 1:13)
Film, courtesy of MPC (Nuke): Several passes CGI compositing in Nuke with different mattes for individual grading.
SHOT 27 (1:13 - 1:16)
Short film, courtesy of Mardo El-Noor (After Effects): Composited and animated all the imagery produced in Photoshop. All the motion using Z space also.
SHOT 28 (1:16 - 1:20)
Personal VFX Project (PFTrack, Maya, Z-Brush, Silhouette, Nuke): Tracked the footage with PFTrack. Modeled in Maya. Added details in Z-Brush. Rotoscoped the rubbish bin in Silhouette. Composited CGI passes and graded in Nuke.
SHOT 29 (1:20 - 1:22)
TVC, courtesy of Glassworks (Nuke): Greenscreen composited and graded passes in Nuke.
SHOT 30 (1:22 - 1:25)
Film, courtesy of MPC (Shake): Rig removal by cleaning plate and placing the rotoscoped ball on top of the clean version using Shake.
SHOT 31 (1:25 - 1:28)
Breakdowns (Nuke): The ‘Breakdwons’ was shot by me. Tracked, composited and graded in Nuke.