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TITLECARD "2007 Compositing Reel" -Joe Reese
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>> www.joereese.com
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"FLAGS OF OUR FATHERS" - Digital Domain - Brian Begun was my lead for Flags.
>> Isolated the photographers from the background where there was a partial bluescreen and union guys standing in the shot with multiple keys and rotos.
>> Color corrected the Bg to match the lighting of the Flash pops of the frenzied photographers.
>> Added Banners and Bunting from lighting renders and color corrected those to match into the scene
>> Added the crowdrenders in the background from Massive and helped adjust source light falloff setup created in nuke to track with each scene
>> Heavily color corrected the crowdrenders in the background to feel like the lighting was correct across this sequence
>> regrain pass to match all added elements to the back plate, |
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"FLAGS OF OUR FATHERS" - Digital Domain.
>> Isolated the photographers from the background where there was a partial bluescreen and union guys standing in the shot with multiple keys and rotos.
>> Added Banners and Bunting from lighting renders and color corrected those to match into the scene
>> Added the crowdrenders in the background from Massive and helped adjust source light falloff setup created in nuke to track with each scene
>> Heavily color corrected the crowdrenders in the background to feel like the lighting was correct across this sequence
>> regrain pass to match all added elements to the back plate,
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"FLAGS OF OUR FATHERS" - Digital Domain
>> Isolated the players from the background where there was a partial bluescreen and union guys standing in the shot with multiple keys as well as rotowork.
>> Added Banners and Bunting from lighting renders and color corrected those to match into the scene
>> Added the crowdrenders in the background from Massive and helped adjust source light falloff setup created in nuke to track with each scene
>> Heavily color corrected the crowdrenders in the background to feel like the lighting was correct across this sequence
>> regrain pass to match all added elements to the back plate,
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"FLAGS OF OUR FATHERS" - Digital Domain
>> the baseball stadium was reprojected onto geometry (set up by my lead)
>> Actors were rotoscoped by the roto team standing in the shot
>> Added Banners and Bunting from lighting renders and color corrected those to match into the scene
>> Added the crowdrenders in the background from Massive and helped adjust source light setup created in nuke to track with each scene
>> Heavily color corrected the crowdrenders in the background to feel like the lighting was correct across this sequence
>> regrain pass to match all added elements to the back plate,
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"MY SUPER-EX GIRLFRIEND" - Digital Domain - Dan Cobbett was my lead for Super-Ex Girlfriend.
>> During this dream sequence entrance, Uma Thurman is sped up to enter frame with punishment by chainsaw for revealing her identity.
>> had to make 48 frames occur in 11 . no extra back plate so the uma had to be extracted prior to the speed up. added trails from retime as a separate layer
>> On the creating a backplate, I had to create many comp and roto and paint fixes in order to retain/recreate normal speed clean backplate during her entrance.
>> Also added some smoke
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"MY SUPER-EX GIRLFRIEND" - Digital Domain
>> For both of these shots, the CG shark needed to be comped in
>> generated city setup bg outside of the window glass
>> added matte paintinto the floor where the shark was
>> detailing like glass moving and tight CC for shark shadows
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"MY SUPER-EX GIRLFRIEND" - Digital Domain
>> responsible for reprojected background so that we can adjust the camera as needed
>> much optiflow and retiming for the heat distortion trail
>> degraining, timewarping and regraining back plate
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"MY SUPER-EX GIRLFRIEND" - Digital Domain
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this shot was about keying Uma's hair for me.
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"MY SUPER-EX GIRLFRIEND" - Digital Domain
>> focused on the background projection to match the camera move
>> Color correction for the CG characters to match into the scene
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PSA
- CHILD ABUSE "Shattered Lives" - PSA test, original concept
>> CC, retouched, resized, and repositioned
CUshot of girl to match CUshot of the doll's face.
>> Painted two different CU versions
of a doll face.
>> Two separate morphs of equal lengths
of the girl into each version of the doll face.
>> Created the "slo-mo flickereffect"
for the shot by alternating each frame of each morph.
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"FLAGS OF MY FATHERS" - Reel FX
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Scott Balcom was my lead for this project
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keyed the canopy from footage of the FG jet
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roto for the blue helmet on bluescreen
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reintroduced reflections back on top
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"FLAGS OF MY FATHERS" - Reel FX
>> this should have a build of the layers i used to create this shot in Nuke.
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"
END OF THE SPEAR
" - Reel FX
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Green screen removal
>> Combined layers with the BG
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"
END OF THE SPEAR
" - Reel FX
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This shot was the combined efforts of several people to repair (Jay Frankenberger & Jeff Alcantara removed the tire tracks from the dirt)
>> I was responsible for recreating the forest in the upper right hand corner
>> using 3D cards and extracted textures from the scene to create a forest of trees that could move with the camera track |
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"THE WILD
: (intro sequence)
- Reel FX
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Mike Smith and Augusto Schillaci were my leads.
>> The shot shows a build of layers and then the shot of the Wildebeasts
>> Combined many layered renders from lighting (Isaac Irvin) and CC
>> Regenerated animated smoke levels to work with camera
>> Added heavy Color Correction to all layers to aim to match look dev boards from animator, Mike Smith.
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"THE WILD
: (intro sequence)
- Reel FX
>> The shot of the Samson surrounded by Wildebeasts
>> Combined many layered renders from lighting (Isaac Irvin) and CC
>> Attempted to CC the right lower corner to lead the light in for the next shots
>> Added heavy Color Correction to all layers to aim to match look dev boards from animator, Mike Smith.
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"THE WILD
: (intro sequence)
- Reel FX
>> The shot shows the Wildebeasts
>> Added heavy Color Correction to all layers to aim to match look dev boards from animator, Mike Smith.
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"THE WILD
: (intro sequence)
- Reel FX
>> The shot shows Samson
rearing back
>> Combined many layered renders from lighting (Isaac Irvin) and CC
>> Added heavy Color Correction to all layers to aim to match look dev boards from animator, Mike Smith.
>> Created displacement layers in flame to have a ripple effect on the clouds in the distance
>> Attempted to CC the right lower corner to lead the light in for the next shots
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PJ’s
"third season" – Animated Television Series shot on Film
>> Created the smokey BG using several smoke elements to build a layered scene of smoke elements.
>> Keyed mattes for the characters (shot on black BG) and animated opacity, focus, and color to make Thurgood and co. to appear from the smoke.
>> Scene
animated by: (name N/A yet.)
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PJ’s "third season" – Animated Television Series shot on Film
>> Rotoscoped rigs off of the ball and stabilized the scene “Thurgood” as he juggles with no back plate.
>> Scenes animated by: (name N/A yet.)
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PJ’s
"third season" – Animated Television Series shot on Film
>> Keyed “Calvin” from green
screens and
>> Created looping background to match his speed.
>> Scenes animated by: (name
N/A yet.)
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"THE ANT BULLY" - DNA Productions - Chris Fowler was my sequence lighting lead for Ant Bully.
>> this shot has some of the lighting layers that i had to generate in order to compa a scene
>> Initially we lit all our lighting passes using Houdini and rendered out as layers for comp
>> Lighting tools were developed to generate multi-pass renders from Renderman, so that we could "light" using Nuke based on Normals passes
>> Nuke was used for adjusting multi-pass renders from Renderman to light using Nuke
>> maintaining continuity of color, light, and detail based on lighting direction from my sequence lighting lead |
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THE ANT BULLY" - DNA Productions
>> this shot has a build showing some of the the lighting layers that i had to generate in order to light and comp this scene
>> maintaining continuity of color, light, and detail based on lighting direction from my sequence lighting lead
>> optimized set shadow maps |
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"THE ANT BULLY" - DNA Productions
>> this shot has a build showing some of the the lighting layers that i had to generate in order to light and comp this scene
>> maintaining continuity of color, light, and detail based on lighting direction from my sequence lighting lead
>> optimized set shadow maps |
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"THE ANT BULLY" - DNA Productions
>> this shot has a build showing some of the the lighting layers that i had to generate in order to light and comp this scene
>> maintaining continuity of color, light, and detail based on lighting direction from my sequence lighting lead
>> optimized set shadow maps |
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"THE ANT BULLY" - DNA Productions
>> this shot has a build showing some of the the lighting layers that i had to generate in order to light and comp this scene
>> maintaining continuity of color, light, and detail based on lighting direction from my sequence lighting lead
>> optimized set shadow maps |
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PSA -
HEPATITUS-C IS BAD
"
Hep-C
"
- Sherry Matthews Advocacy Marketing
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Created and treated particles to represent the infected blood inside the needles
>> Animated the motion of the
needle
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keying it from a green screen and comping it to match into the scene
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Added drop shadow to the arm - whole spot was finished using Discreet Smoke
>> Director/Designer:
Ron Pippin
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WARNER BROS. MOVIE WORLD "Theme Park Opening Commercial" - Ackerman McQueen Agency
>> The goal here was to dress up the filmed sequences so that they would seem more glitzy and glamorous.
>> Retimed the existing camera move to slow it down. Added a few extra Flash pops to indicate frenzied photographer triggerfingers
>> Located, isolated, retimed and tracked elements into the scene from fireworks footage to make the park seem light up in celebration and pyrotechnics.
>> Added search lights, enhanced light rays, created several "magicle" particle streams using the particle systems in Discreet Flame.
>> Keyed a grain pass to match all added elements to the back plate, all of which was rendered for PAL conversion in Spain.
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"THE ANT BULLY" - DNA Productions
>> this shot has a build showing some of the the lighting layers that i had to generate in order to light and comp this scene
>> maintaining continuity of color, light, and detail based on lighting direction from my sequence lighting lead
>> optimized set shadow maps |
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WARNER BROS. MOVIE WORLD "Theme Park Opening Commercial" - Ackerman McQueen Agency
>> The goal here was to dress up the filmed sequences so that they would seem more glitzy and glamorous.
>> Stabilized the camera move and I color corected the sky. Footage was shot at night after the park closed so I decorated the boardwalk with lights tracked in.
>> Located, isolated, retimed and tracked elements into the scene from fireworks footage to make the park seem light up in celebration and pyrotechnics.
>> Added search lights and water reflections and a nerw pier with lights - color corrected all the elements to match lighting of the scene.
>> Keyed a grain pass to match all added elements to the back plate, all of which was rendered for PAL conversion in Spain.
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NBC "Saving Jessica Lynch" - HD Television Movie
>> Stabilized the camera move of the HD footage
>> Background and sky were replaced by a matte painting tracked into the scene
>> Keyed and junk-matted existing smoke while adding smoke elements in the distance to
>> Color corrected matte painting slightly to match
the time of day
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NBC "Saving Jessica Lynch" - HD Television Movie
>> This sequence had a burning tire dropped on the hood of the truck, however the died out as shooting progressed, so i had to add fire to the tires.
>> After Tracking the tire in FLAME, I
animated an extended bicubic mesh in 3D to match the shape of the tire and render select fire footage
>> Color corrected BG footage so that the tire on fire would appear to light up the hood interactively
>> Composited all the HD elements
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"MY SUPER-EX GIRLFRIEND" - Digital Domain
>> This was actually a slower, longer shot but it was sped up in the cut
>> much optiflow and retiming and roto and keying
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"MY SUPER-EX GIRLFRIEND" - Digital Domain
>> responsible for comping the two characters to this reprojected background
>> much optiflow and retiming,
>> degraining, timewarping and regraining back plate
>> color correction on the river and track my roto for the sky replacement
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ENDCARD "2007 Compositing Reel" -Joe Reese
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>> www.joereese.com
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