Thanks to RISE | Visual Effects Studio, I had the opportunity to work on this epic project. I spent about 6 months working on this one and I’ve been able to perform different type of tasks going from object removal to CG integration. Once again the team at Rise Munich was very talented and super kind, however, on this movie we partnered with the team from Berlin, which gave me the opportunity to see new faces.
Snapshot
Find below most of the shot I’ve worked on. My tasks were :
Bluescreen chroma keying
Set extension with CG elements provided by the DMP department
CG compositing (3d Casino, City Model, Face mask)
Image cleaning (Ropes removal, Face cleaning)
Look development (Glitter BG for Vesta’s song)
Particles
On this shot the challenge has been to create an animation for the light sign “City Fair” that was entirely driven by expressions. So I’ve been able to share it with my collegues that were working on surrounding shots and assure the matching and continuity whitout having any trouble with the frame rangeThe bottom part was a green screen. So it has been replaced by the model of the city in CG. Some rope’s removal has been done by an outsourced company and in the end a VCR look has been added on top of everything (I wasn’t aware of that while comping this shot)This is one of the first shot I’ve worked on. I removed a few ropes and added a camera shake when the character played by Shia Labeouf hit the ground. The most difficult part was to remove the rope that was in front of the cameraman in the BG behind the character played by Aubrey Plaza, because he has quite a complicated move with his arm and the bag. Frame by Frame painting has been necessary. The rest of the ropes have been removed by an outsourced company.This is the shot (and the 2 following) where I spent the most time during the whole project. It was a complicated bluescreen because it had a lot of red trackers that were going behind her several times. So painting the edges everytime they were touching has been necessary which has been very time consuming, also because this shot was about a 1000 frames, plus it’s doubled at the end… so more trackers to paint out. Also, the bluescreen was uneven which made the process of keying harder without mentioning that the moon structure on what she is sit was reflective and a rotating light with some colour was lighting her and the screen (which was changing the values of the bluescreen everytime). The funniest part was to create the look of the BG. I made the early stage and set the direction… but, unfortunately I got sick and was away for about 2 weeks… this is were my collegue Paula Olszowska took over to the final stage.I didn’t comped this shot, but I made the particle system for the falling confettisThis one was interesting to do and tricker that it looks because we had to match the position of the Moon Structure were she is transparent. So it’s a mix between a plate of the empty structure and extension tricks. The crowd behind is full CG and the phone light is a particle system done by colleguesOn this one I didn’t do much apart from assembling everything. The look was done already so it was just matching with a previous shot, the roto was outsourced and the CG mask already had all the look elements.This shot has a set extension done by the DMP department. My job was to key the bluescreen, integrate properly the DMP and I extended the floor to have a nice train dock. It was interesting to do, because it involved 3d projection techniques, painting and light matching. Also you can’t see it here, but they completely removed the character played by Adam Driver which was standing in the middle of the crowd. Whoever made this job really nailed it
