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Play, download and edit the free video 2021 Compositing Showreel.

Compositing work completed between 2018 and 2021.

Shot 1 – Kingsman: The Golden Circle - 2D comp and blend of 4 plates:
Plate 1 – Jeff Bridges tosses the hat.
Plate 2 – whip pan of the set.
Plate 3 – hat tossed into frame, just misses its target.
Plate 4: - Jeff Bridges throws hat onto bottle and scuttles out of shot.
I blended the 4 plates into 1, making sure that the timing matched the cut ref, and removed Jeff Bridges from the 4th plate. I also removed markers and reflectors from greenscreen, keyed the shot and composited a matte painting BG in.

Shot 2 – Kingsman: The Golden Circle – blend of two plates and retiming:
Plate 1: Colin Firth’s dialogue performance
Plate 2: better hit reaction to punch, from Colin Firth.
I blended the two plates together, created roto for the punching arm and the two foreground characters. Edit retimed to match cut ref and provide a “harder punch”.

Shot 3 to 6 – Pacific Rim: Uprising - look dev comp: all plates had multi-pass 3D renders comped in, with time spent on achieving the final holographic look, before being sent to DNEG for final compositing. I also did roto for some of the shots. In some cases, the look of the comp did not change from my version – in particular, the gunner UI. Those remained as I comped them, in the final film.

Shot 7 to 11 – How To train Your Dragon: Homecoming – Relighting on all shots, using cryptomatte, normal and position passes. With the dragon coming out of the smoke shots, I also comped in smoke elements, and tweaked the depth accordingly.

With the sunset shot, shot 11, I also comped in the sun and sky, matching the sun direction on the CG in the scene.

Shot 12 to 17 – Fortitude – On the first two shots here, 12 & 13, I created from scratch a blade extension (for where it was “cut out” for safety reasons), added CG blood on the blade, the arm, and any additional spurts.

The next two shots, 14 & 15, the actor had a tiny amount of blood on his arm. I used that to paint in more blood, adding a deep wound where the blade was previously, and used Nuke’s smartvectors to get me most of the way with tracking that element into the shots.

The next shot, shot 16, the blood splat on the wall had to be replicated as closely as possible to a shot that had already been completed by another company. I matched it over several other shots in the whole sequence.

The snow skidoo shot, shot 17, I removed deep background vehicles, and added additional falling snow in the foreground.

Shot 18 to 19 – Curfew – There are metallic shutters an every building that had to be comped in. In these shots, there were only a couple of shutters that were real that aided me with matching the CG elements. There is also a CG barbed wire fence, screen right, above the ambulance in both shots that was comped in. On shot 19, there were also CG shutters low down, screen left, and I had to make sure that the lens flare that covers that area wasn’t affected and comped back over the top of all the CG elements.

Shot 20 to 21 – Worzel Gummidge - I was provided with flat textures and some 3D rendered textures (diffuse, normal, bump, etc.) – but no geometry. I 3D tracked Worzel, keyed out the midriff, and recreated his innards, using a simple cylinder and a plane in Nuke’s 3D system, using the provided assets to create the necessary textures. The innards were lit with Nuke’s lights – but the shadow of his jacket over that was accomplished by using a simple rotoshape and graded accordingly.

Shot 22– Outlander - greenscreen shot, which included some marker removal. I also did the final key and comp.

Shot 23 – Stan and Ollie - A greenscreen shot, where the background matte painting was comped in, and populated with CG people and vehicles in the deep background, along with CG water.

Shot 24 – London Grammar: Californian Soil - I was provided with three plates: the main dolly shot with the actors, a locked off shot where the wall falls, and a final beach plate. Along with this, I was also provided with stills to guide me to the look and feel of the final shot, to match the correct time of day. The greenscreen shots had to be cleaned up, along with a fair bit of roto, top of head recreation (of the tall guy), roof addition, etc., before any keying could be done. Then the main plate was tracked, so that the other two plates could be attached to it accordingly.

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