Hospital at Granada – All CG and Comp work
This shot was filmed to mimic John Singer Sargent’s painting “Hospital at Granada”. I Completed two versions of this shot- a Stationary and Moving version.
This shot was achieved using Maya, Nuke and Photoshop. I learned about the importance of matching luminosity and colour values, how grain has to match perfectly to fit the plate, the need for textural variety within repetitive geometry (the roof tiles) and how to track and replace an ugly doll head with a (albeit still creepy) real human head.
This shot was achieved using Maya, Nuke, Photoshop and PFtrack. I learned the ins and outs of tracking software, how a good camera track can be achieved and how a bad one can be improved. I built the geometry with close reference to the Production Designer’s set plans, and all textures were taken from VFX photography taken onset. This taught me the value of working in the correct colour space and carrying this through to the end of production. I learned a lot about the render workflow and how to combine and tweak different CG passes in Nuke. In terms of compositing, I learned a lot about merging various keys and rotos to tackle a challenging matte, projecting banisters and images of backrooms, sewing CG into live action seamlessly and dealing with a particularly troublesome head.
The Britten Bike - Modelling
This shot was achieved using Maya and Nuke and was a personal project. I wanted to tackle a complex object which mixed hard-surface and organic modelling techniques. The different parts of the bike proved a challenge topologically- particularly the brake discs! I used Nuke to combine my AO and grid passes, and ramp the speed using the Kronos node.
Blight – Modelling and Texturing
This shot was achieved using Maya, Nuke and Mari. This shot was filmed as part of a horror film which takes place in a dilapidated woodland cottage. I was assigned the role of modelling and texturing a roof set extension. I was given a camera tracked version of the clean plate and worked closely with the compositor Xi Zhao on this shot, who was also responsible for lighting. Communication between CG and comp was particularly important throughout production. I learned the importance of modelling CG to match the live plate, using photogrammetry data to get the perspective right and taking care not to cover important features (the lens flare) with geometry. I facilitated the transfer of Geometry and camera from Maya to Nuke to assist Xi’s volumetric lighting pipeline, and learned about some pitfalls in doing this along the way. I re-painted a screengrab of the wall in Mari, painting the lighting, shadows and staining as I wanted it, and passed it through to Xi so that it could be projected back into the rest of the shot. I was also the post production supervisor on this project, managing the VFX team and liaising with the director, production designer, cinematographer, composer and sound designer in order to keep the production running smoothly and to schedule.
Kelvingrove Art Gallery – Modelling, Texturing, Lighting
This shot was achieved using Maya, Mari and Nuke. This asset is designed to be used in a ‘fly-over’ shot in an upcoming production. This facilitated the need to have a view of the building from multiple angles from a distance. I had no reliable blueprints or plans for modelling this structure so I instead used “human photogrammetry”, using several reference photos to recreate the building in Maya. I learned a lot about topology, modular building design and gained a deeper understanding of painting in Mari.