Check out my work as a visual effects artist on Gotham and Minority Report (the TV series) as well as in The Conjuring 2. You'll see my digital compositing work on Pitch and Lucifer. I've worked for Sony, Hulu, Netflix, WBTV, New Line Cinema, FOX. My commercial clients include Royal Bank of Canada, Tangerine/ING, Microsoft, Jinko, Nissan, milestones, EpiPen, LG, Filmotechnic, Nissan, Ford, Jaguar, Railway Association of Canada.
SIX SEASON 2
This demo reel is a one minute highlight of the services I provided for SIX Season 2 TV show on the History channel. During almost four months of full-time engagement I have worked on more than 30 shots in the three final episodes packed with action. My services included advanced compositing, military UI look development, advanced cleanup utilizing the Nuke to Mari bridge and camera matchmove / layout. Most of the work in this reel I did on my own without supervision. Occasionally, I consulted the post production team about what would be the best approach to handle some challenging creative and technical tasks.
00.04 - 00.15
In these three shots, I had to remove cars from the roads, project digital matte painting on the white building (the mine), add the mine entrance on the top of the hill, and extend the road connecting the mountain to the mine.
After undistortion and matchmove, I created a proxy geometry for mine, roads, trees and light poles in a 3d application. The next step was to paint out all cars from the roads in a painting software and then project the roads, foreground trees, light poles and house roofs back in a compositing program.
Blackhawks, digital matte painting of the mine, and the entrance extension were added in a later version.
00.18 - 00.21
In this shot, I matchmoved, painted and projected the foreground/background trees, the mine, the traffic lights, and the industrial building
to remove moving cars, people, the bus in the far background. Mine digital matte painting was added in a later version.
00.21 - 00.27
UI look development for the military satellite and drone interfaces. One of the secrets in developing this kind of interface is simple
and blotchy graphics, so in the real world, data can be transferred momentarily.
00.27 - 00.29
Matchmove and layout for the mine to project digital matte painting.
00.29 - 00.35
In this zooming lens shot, the film crew had to be removed from the inside of flying Blackhawk and replaced with digital solders. After undistortion, camera/object matchmove, I created a moving layout for both 3d and 2d departments.
The 3d department added and rendered CG doubles based on my matchmove, and 2d department used my compositing setup to clean up the camera crew and composite in digital assets.
00.42 - 00.46
Basic set extension of the road. A wooden bridge was added after I tracked and matchmoved this slow and easy shot.
00.46 - 00.48
For this wide-angle tripod shot, I created a proxy of the building by eyeballing the shape and length of it.
After that, the digital matte painting was projected and compositing into the shot.
00.48 - 00.53
Shaky hand-held camera, foreground obstructions and lacking details made these two shots somewhat challenging to track and matchmove.
After my part was successfully accomplished, the 3d guys added a few Blackhawks up in the sky.
00.53 - 00.58
Adding Boeing C-17 Globemaster III after tracking and matchmove was pretty straightforward in some of these five shots. The other ones get the most of my love as no correct lens data and distortion grids were provided from the production.