I was hired by Cutting Edge (Chippendale) to work as a senior compositor on Jeremy Sims' WWI feature "Beneath Hill 60". My role began by helping to set up a film pipeline that would enable. the VFX department to work efficiently, share resources and establish filestructure and naming conventions. I was tasked with writing a custom proxy tool that was used throughout the production and a script to set environment variables to handle Shake macros and preferences. I also setup and maintained a VFX wiki that detailed all VFX-related information and conventions as well as liasing with IT to integrate the 2D department with the 3D renderfarm.

In terms of compositing, I was responsible for approximately 20 shots as well as mentoring junior compositors. My work involved everything from complex rig-removals, muzzle flashes and sky replacements to adding smoke/rain and creating explosions, including the "money-shot" explosion where "Hill 60" was destroyed.

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Jane Campion's award winning feature about the poet John Keats required me to add butterflies to a number of shots, as well as create a set extension of the village and add snow to enhance some shots. In addition to this, I cleaned up and added snow to the final shot of the film, a mammoth 2.5 minute (or approximately 3600 frames) shot of Fanny Brawne walking through the woods. This shot was particularly difficult due to the camera move and narrow depth-of-field which made tracking the shot difficult.

The shot below didn't have enough snow to be convincing so I was asked to add digital snow over the tops of the trees and enhance the snow on the ground; making it look deeper. I also added footprints in the snow behind the figures as they walk along and some animal tracks to the right hand side of the shot. This particular shot underwent many changes, and in the end I delivered thee variations from which the final shot was selected.

All shots for the film were scanned on the Northlight film scanner and composited at full gate 4K resolution (4096x2048).

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Prime Mover was a fun film to work on as I was given a lot of freedom in the design of the effects. The shots I completed comprised of effects such as dilating the pupils of eyes, fixing up the paint stokes of the main character (apparently he couldn't paint very straight!), creating a scary man creeping alongside a truck during a drug-induced hallucination, bringing a calender to life, crashing a truck through a house as well as many other effects.

The shots I had the most fun with occured during a sequence where the protagonist is hallincinating and sees a figure jump onto the bonnet of his truck, punch through the metal and begin to rip parts of the truck's engine out.

Another fun shot to work on was a zoom shot where the camera passes from above the truck driver, though the seat material, the seat foam and down through the inner workings of the truck into the diff where cogs become stuck and the teeth begin to be ripped apart. This shot involved combining many layers of 3D with some photos and textures to get the right effect. I liased with the 3D department to produce this shot which, in my opinion, is certainly the most impressive shot of the film.

In another shot I was given the opportunity to take an existing 3D model of a V8 engine and then texture, light and animate the model myself to use in creating a stylized representation of the character's heart "revving" with love. I rendered out passes which were then brought into Shake where I created the look of the shot and then animated the rotor and engine movement.

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Nash Edgerton's feature involved all kinds of effects. I completed 16 shots in total, ranging from tv inserts to gun muzzle flashes, removing blood taps, seamlessly combining different takes into the one shot and grisly death sequences such as a woman being shot in the head and a man being impaled on a metal stake.

The film was completed at 2K and was scanned at FSM on the NorthLight scanner.

Trivia: Nash put chunks of polystyrene in the blood/guts mixture so that when it shot out the blood tap attached to the back of the woman's neck as she was shot, it looked like fragments of her skull were being blasted out the back of her head. Sicko!

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The brief for Suburban Mayhem was to create a mass of the one character, Angela, which resembled a horde of zombies. In order to create this effect, a large number of takes were provided of the character walking up the the camera. A matte for each woman was created using a difference matte and rotoscoping to clean up then the 15 plates were combined to create the final shot.

DIRECTOR PAUL GOLDMAN TALKS ABOUT THE FILM:
http://www.youtube.com/watch?v=ak4x3BrfYmQ

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