Software:

Contribution:

Shake

Composited the entire shot. Involved combining numerous layers of 3D and practical elements to create the effect. Lots of retiming of layers was needed for both the explosion elements and dustwave elements to properly integrate and also to match timings of the previz. Lots of colour correction and additional matte painting helped tie all the elements together.

Software:

Contribution:

Shake

Specific timings were needed for this shot - it was required the man turn his head just before the explosion. The original footage had a delay before the explosion so in order to match the timings needed, frames were removed and some in-between frames created and painted up to match the lighting of the explosion. The inital explosion elements were created by combining frames of practical explosion elements in a way that gave the required density and shape. Masks were hand animated to create the lighting that moves through the tunnel. Additional smoke elements and 3D wood shards were added and the lighting on them animated according to the explosion fire. Manipulated pratical smoke elements assisted in bringing the tunnel back into darkness quickly - as was required. The camera shake was added using a local variable to control the amount of camera shake (an expression on a Move2D node).

Software:

Contribution:

Shake, Maya, Mental Ray

Textured, lit and rendered the 3D engine. Brought elements into Shake and animated the fan and movement of the engine. Designed the look of the shot, composited smoke elements, wrote expresion to drive opacity based on intensity of the practical lighting.

Software:

Contribution:

n/a

Nothing done on this shot - just for continuity.

Software:

Contribution:

Shake

Combined numerous layers of 3D to create the truck flythrough and diff grinding. The inital seat flythrough was created using 2D techniques - a number of high resolution still images and textures combined together. Additional lighting, camera shake and atmosphere was added in 2D. The 3D truck was created by a few different artists, so my composite served as a great resource for the 3D department to see the shot in motion and the liason between myself and the 3D artists allowed us to make changes quite quickly before presenting to the client. It should be noted that while I composited the shot up to the point of approval, that my renders were combined in Flame and minor tweaks may have been made with the client.

Software:

Contribution:

Shake

Designed the engine explosion. Cleaned up practical rig. Composited debris elements, lighting, smoke.

Software:

Contribution:

Shake

Add camera shake. Mainly just for continuity.

Software:

Contribution:

Shake

Designed the engine explosion. Cleaned up practical rig. Composited debris elements, lighting, smoke.

Software:

Contribution:

Shake, Photoshop

Added digital snow to the shot to make it look more like winter. Snow was created using a lot of cloning from the practical snow within the snow and also with some high resolution stills. All the grass clumps on the ground were painted out entirely and then brought back in and varying levels until the client was happy. Footprints were added behind the characters as the walked and some additional prints added to the far right of the shot. Finally, isolated colour correction helped to remove hints of the actual time of year and make the shot appear as winter.

Software:

Contribution:

Shake, Photoshop

Created the title sequence which starts off with the letters "Z-E-R-O" and pulls back. As it does, the letters fade out and the "O" becomes one of thousands of cells. Created the look of the sequence and composited the 3D particles. Designed a background and tracked the cells to the camera movement. Also fixed up some problems with the mattes for the 3D passes - involved some keying and painting.

Software:

Contribution:

Shake, Photoshop

Designed the look of the shot. Keyed many various stages of bluescreen stop-motion takes to create elements for morphing. This also involved rig removal to get rid of the device on which the armatures were rotating. Combined the different stages by morphing between them, then composited the umbilical cord back in and did lots of cleanup. Retimed to match specific voiceover timings and cleaned up resulting artefacts. Designed camera movements and background/foreground elements. Composited the entire sequence.

Software:

Contribution:

Shake, Photoshop

Designed the look of the shot. Keyed many various stages of bluescreen stop-motion takes to create elements for morphing. This also involved rig removal to get rid of the device on which the armatures were rotating. Combined the different stages by morphing between them, then composited the umbilical cord back in and did lots of cleanup. Retimed to match specific voiceover timings and cleaned up resulting artefacts. Designed camera movements and background/foreground elements. Composited the entire sequence.

Software:

Contribution:

Shake

Tracked and rotoscoped the background of the shot to allow me to add smoke. It was important that the type of tree was not apparent, so the smoke assisted in diguising them. This was one shot in multiple scenes which required the trees to be obscured.

Software:

Contribution:

Shake

Replaced the original bright sunny background with a darker background and added smoke and rain over the shot. Again, this was one shot in an entire scene which required the same treatment.

Software:

Contribution:

Shake

Added hundreds of gun muzzle flashes to the main battle sequence of the film, some from stock footage, some created from scratch.

Software:

Contribution:

Shake

The dead man with the bloodied shirt originally had his eyes and mouth open, so I was required to replace his head in order to close his eyes and mouth. Subtle smoke was added over the top to match the environment and help the digitally added head blend in.

Software:

Contribution:

Shake

Added gun muzzle flashes and lighting.

Software:

Contribution:

Shake

Added gun muzzle flashes and lighting.

Software:

Contribution:

Shake

Added bullet wound on head (even though you don't really see it), removed a large "blood pipe" taped to the back of her head.

Software:

Contribution:

Shake

Removed the "blood pipe" sticking out from the back of her head.

Software:

Contribution:

Shake, Photoshop

Painted up a bullet wound in Photoshop and tracked it onto the makeup bullet wound. Extracted some of the practical highlights and composited them back in.

Software:

Contribution:

Shake

Removed the stake he falls on (it was rubber and bent too much) and re-composited it back in as a still. Required extracting some rain texture to composite over the still as well.

Software:

Contribution:

Shake

Combined two shots in order to get the best reaction shot. Involved matching the position and grading of the plates and a bit of painting.

Software:

Contribution:

Shake

Composited studio footage onto calendar and matched the lighting and look of the original calendar.

Software:

Contribution:

Shake

Composited studio footage onto calendar and matched the lighting and look of the original calendar. Rotoscoped the spanner to create a matte through which to grade the 'real spanner' as she pushes it through the paper.

Software:

Contribution:

Shake, 3D Studio Max, PFlow

Designed and created a particle system of golf balls which attack the man. Basic proxy geometry serves as a deflecter for the particles. Composited in Shake. The shot also involves combining two takes (earlier in the shot the man is looking at himself).

Software:

Contribution:

Shake

Duplicated golf balls attacking.

Software:

Contribution:

Shake

Duplicated golf balls attacking.

Software:

Contribution:

Shake

Duplicated golf balls attacking.

Software:

Contribution:

Shake, 3D Studio Max, PFlow

Created a particle system.

Software:

Contribution:

Shake

Basic cleanup

Software:

Contribution:

Shake, 3D Studio Max, PFlow

Created a particle system.

Software:

Contribution:

Shake

Rotoscoped the girls to create mattes to assist in positioning them amongst the cloud elements.

Software:

Contribution:

Shake

Rotoscoped the girls to create mattes to assist in positioning them amongst the cloud elements.

Software:

Contribution:

Shake

Created mattes for 16 takes of the woman in order to combine the plates into one. Used difference mattes, keying and rotoscoping.

Software:

Contribution:

Shake

Removed a truck and camera crew from the background. Involved a lot of rotoscoping, painting, creating and tracking of clean plates.

Software:

Contribution:

Shake, Photoshop

Removed a poster of Garry Glitter from the door and composited in a picture of seahorses.

Software:

Contribution:

Shake

Keyed bluescreen and replaced background.

Software:

Contribution:

Shake, Photoshop

Painted up a photograph I took of the sole of a boot and used this to replace the sole of the boot of the dead guy (it looked too new). Involved rotoscoping the shoe and bar and tracking.

Software:

Contribution:

Shake

Replaced the numberplate on the first car.

Software:

Contribution:

Shake

Replaced the numberplate. Involved tracking, and using mattes to create shadows passing across the numberplate.

Software:

Contribution:

Shake

Replaced the car numberplate. Involved rotoscoping all the foreground elements and tracking the numberplate. Also moved the driver to the other side of the car (the shot was flipped horizonally for continuity purposes). This required grading two different versions of the driver and using mattes of the windscreen shadows to wipe between them as the car passed under trees.

Software:

Contribution:

Shake

Replaced the car numberplate. Required creating a matte for the fence to use as a holdout for the tracked-in numberplate. Also wrote an expression to affect the brightness of the numberplate based on the brightness of the original plate.

Software:

Contribution:

Shake

Dilated the pupils of the eyes. Used Shake's morphing tools to enlarge the pupils, while boundary shapes constrained the morphing to specific areas within the eye. Extracted highlights and re-composited them back in.

Software:

Contribution:

Shake

Keyed, rotoscoped and stabilised the horse from stock footage. Created the look of the shot. An expression based on the intensity of the pratical lighting was used to drive the opacity.

Software:

Contribution:

Shake

Combined different takes together in order to maximise the impact of the leg brake.

Software:

Contribution:

Shake, Photoshop

Painted up the background using different textures. The text was very clean, so custom paint brushes were used to remove parts and make it more "grungy". The smoke forming the letters was a particle system created using 3DSMax and Particle Flow. The 3D render was combined with the 2D text using a hand animated mask to reveal the words as the particles filled the text area. The camera movement was added in Shake and the handheld movement created with expressions.