REEL BREAKDOWN

ENOLA HOLMES

00:04 - 00:09

Key shot - I was responsible for all the compositing tasks in this shot. It has key, set extension, the hero tree in the SL is CG and some color grading for the buildings in the background to make it look older and match the matte painting style of the buildings. I was responsible also for the setup of other two similar shots in the sequence. The key was a mix of Keylight and IBK, the roto and camera track was provided. Most of the roto to mix the buildings and to clean the edges of the key were roto projected on cards.

00:15 - 00:20

The different tasks involved in this shot were key, edge extension, cg integration and fake the shadows of the train on the building. The main key was achieved with a mix of Keylight and IBK Keyer, the set extension is a projection of the dmp and different keyed elements, I did some grading to integrate the CG train and the clothes lines. Overall depth and atmospheric perspective was created with different cards and projection to have a few fog layers. The shadow was created using a projection of the CG train over the wall. There’s some crowd elements that were keyed and placed in depth to create a crowded London street.

00:34 - 00:37

Key shot, this was a green screen shot for the train sequence. The main key was a mix of IBK keyers, the background plate was retimed and projected, some of the tasks in the BG plate were paintout of specific color zones to make it look more interesting and less distracting. As an additional task I did all the paintout of the reflections on the FG plate, the window of the sliding door had a huge quantity of reflections from the set that were requested to remove and reconstruct the plate.

GODZILLA KING OF THE MONSTERS

00:10 - 00:15

This was my first project as a Lead Compositor, I was responsible for the look dev and script setup for the Argo sequence. The setup of the clouds was created with different 2d assets provided by the FX team and created in Houdini. I created a 2.5d setup with different clouds mapped in cards and moving towards the tracked camera. The sky was created with different images until the desired look was achieved. It was part of the main projection as well as a different element.

As a Lead I was responsible for tech checks and the first filter before send the shots to VFX Sup reviews.

ASURA

00:21 - 00:33

For this shot I made the first matchmove used to make the clean plate and the keying. The rig removal was made with three different approaches. camera projections over basic geometry for most the of the BG (then paint to reveal). Smart vector for the clothes of the main actor, and 2d / planar trackers for small patches/fixes, these patches needed to be compensated with transforms (scale, skew) to match the original plate. The main key was made using IBK gizmo and after that to recover more details I used Keylight, Keyers, HSV Tool and roto (most of the roto was delivered by the Roto Department). The CG was rendered on different layers for each tentacle, we didn’t use deep compositing (due to size of the files and heavy processing), so most of the holdouts were made with rotos. The CG basic integration was made matching blacks and withes, then I made specific color masks to match the plate color and added some atmospheric perspective using depth pass. The zDefocus and chromatic aberrations were matched to the plate on each zone and depth. The grain for these project was created with an internal tool based on F_ReGrain.

00:37 - 00:43

In this shot the main challenge was to remove the actress because of her acting. I made the matchmove, then created and projected patches over basic geometry, all created in Nuke. After removing the actress I extended the edges of the guy crossing at the beginning of the shot. The main keyer used was IBK (creating a kind of clean/blue plate). For the CG integration I matched whites and blacks, then used specific masks to adjust and integrate different zones (for example each branch of the BG has a lot of little masks to match specific colors of the plate).

00:58 - 01:00

For this shot the approach was the same, matchmove and camera projection to reconstruct the BG, color masks to correct specific zones and match them to the plate. The key was made using IBK creating a clean plate as well, and I projected some rotos on cards to recover some zones (mainly for the building on the left and also for the branch in the FG) . In both shots the integration part included zDefocus and some chromatic aberration. The grain for these project was created with an internal tool based on F_ReGrain.

AMERICAN GODS SEASON 2

00:44 - 00:48

I rebuild the beauty pass using the different AOVs rendered, to have control mainly over the speculars, diffuse and indirect illumination. I matched the black and white values and also the defocus. Again I used a bit of blur/sharpen/defocus/sharpen to make the CG imperfect. For the grain of this project I used a different approach. The main tool I used was L_Grain. I adjusted it manually for each shot to have a result similar to the main plate. Then I subtracted the denoised comp to keep just a grain plate, after that I corrected with ColorCorrect, Blur and Sharpen each channel. This allowed me to have a lot of control over the Grain. If some channel need more grain in some cases I used an extra Kodak Grain to add a bit of noise in the desired channel. (I made a ToolSet with the grain setup so it was easy to use the same approach for all the shots of this show with minimal adjustments, and also to deliver the setup to other artists)

00:49 - 00:52

For the look dev of this shot, we recorded footage of a mixture of different substances pouring over a glass (soap/oil/mix of various cleaning products) with all of these I created the final comp, I changed the color and timing of the plates, the main idea was to make the spit look gross. At the end the client delivered an specific color, that was just slightly different to the comp proposed. The matchmove was done with a 2d track and the grain approach was the same than the previous shot with L_Grain. The defocus was matched manually.

MINDHUNTER SEASON 2

00:53 - 00:57

In this shot I was responsible for all the compositing tasks, we added a fake helicopter light in the ground, and the interaction of the police siren lights. Wed also replaced the trees in the background to have movement and justify the invisible helicopter. The lens flares added were created using Optical Flares. The technical challenge of this show is that most of the shots were I worked is invisible comp so everything needs to be perfect.

FEATURE ANIMATION

01:01 - 01:27

This part is to showcase a bit of my work as Feature Animation compositor, it has two projects: Condorito (Space Chicken) and Metegol (Underdogs).

In the first one I worked as a Lead Compositor and completed a total of 500 shots in eleven months of production. My main duties were: match the colors between shots of the same sequence, add effects like flares or 2d elements, work in the look dev of some fx renders and overall help the lighting team with Nuke doubts: and the matte painting team with complex projections and setups. I did a couple of tools that helped to work faster during the production as the due date was the main factor to take in consideration for this movie. You can see an extended breakdown here.

The second project was my first movie ever and one of the biggest animation projects in South America. I worked as a stereo compositor and my main duties were: match color between shots, check the stereoscopy of the renders and try to fix in 2d the parallax errors between the different eyes when needed. It was the same when there was render issues, sometimes I had to fix one of the layers (L/R) taking information from the other to avoid going back to render. This was an amazing project to work on as was directed by the Oscar winner Juan Jose Campanella. You can see an extended reel here.