Shot 1: I Love Sara Jane - Short Film (fxphd)
Out of the gate, this was a long steady shot, with no room to hide error as well as the unique parallax provided by the background structures and trees. The approach was two different passes of tracks in PF Track, a large feature pass and a smaller one. With user tracks taking advantage of the debris on the ground as well as around the scene to gather data.
Shot 2: Beyonce - "Who Run The World (Girls)"
Object and Camera Solve. During development of this shot, having a correct camera solve was crucial to find the exact point in space Beyonce's hands were moving. The added challenge was solving them in relevance to each other as in real life.
Shot 3 Beyonce - "Who Run The World (Girls)"
Upside down and rotational, this shot is a truly unique one.
Whether its the jerky camera, the fuzzy detail, or Beyonce moving around, this shot proved to be a challenge to be met.
Shot 4: Moving Day (shot)
Shooting talent on wires always leads to interesting match moving challenges. Using 3D geometry to track the talent's flaying body didn't help matters. Isolating the arms from moving over the body was the hardest part as the talent reacts to a flamethrower in the shot.
Shot 5: Maitel - "Get To The Point" - Single camera solves live and die on tracking parallax. This shot was fully tracked with in the Foundry Camera Tracker for Nuke. Pushing the grade to track pores of the wall as well the glass infront of Maitel to solve this tricky shot.
Shot 6: Water Surface Shot - With the environment constantly changing, you can only pray for 3d Equalizer to pick up the parallax.
Shot 7: Underwater - Dry land is hard enough. When it comes to being in dark murky water, all there is to track is the particulates in the water.
Shot 8: Time Lapse Subway - In a busy subway station, there are 100's of people who will walk infront of the camera. Finding the gaps blurred between them was the trick.
Shot 9: With plenty of parallax at the tail end of the shot, starting in the middle of an intersection with moving traffic all around proved tricky. Grabbing what dents and holes of the pavement were available to me, was the key to clueing in the solve on how the camera was moving.
Shot 10: Variable Focal Night Club Shot - Could any shot sound harder?
Maybe if there was rolling shutter. This shot zooms in as flashing lights stream over a packed room of dancers.
Shot 11: Shallow DOP and Rain - This brief shot pulls off a shaky camera solve with very little parallax.
Shot 12: Beyonce - "Who Run The World (Girls)"
Like shot 2, binding CG chains to Beyonce's hands created a solve that was the exact representation in 3d space of how her hands were moving. This time, the range of motion was much more extreme as she whips her hands around to snap the chain.
Shot 13: The Foundry's Camera Tracker proved very effective in a pinch on this video, where Nukes ability to push pixels proved well to hand the data to the solver to create the solution to export to Maya.
Shot 14: Long Track - Sometimes you just got to get out and challenge yourself with tracking. This shot was done on a 5D and was purposely done to create a long shot that had to be solved to reproduce the camera exactly.
Shot 15: Moving Day (short) - Track and Stereo Convert.
Using Pf Track to track and undistort and Maya to model this shot, it was then projected in Nuke to create stereo.
Shot 16: Stereo Car Convert - Using PF Track to solve the camera, the object tracked features were converted into geometry and cleaned up in Maya and stereo projection in Nuke.
The Pond were asked to create all the CGI VFX shots for this Square Box Film's TV spot. We used motion control camera data to track the CG elements into the live action footage. We rendered the CGI elements and composited them with the green screen live action to created the final images. To view a shot by shot breakdown of how it all came together, please visit our website, here... http://www.thepondstudio.com/#!lwow/vstc25=lwow_split_screen