Responsible for creating and comping the window backgrounds during the car chase in 6 Underground.
Was given picked footage to compile into a linear scene, while working with the editors to make sure
all continuity lines up. Original plates had no backdrops and were filmed on blown-out white
backgrounds and different driving locations. This results in clipped edges. So the actors’
edges were reconstructed with a lot of edge extend techniques,
tight rotos, a lot of paintwork.
Comped background windows to give the look of the high rise penthouse. Worked with ILM’s
assets and in house editors to make sure all in house VFX shots and outsourced shots
Was requested to change the yacht scenes from night today. This required breaking the long shot
into 3 main pipelines in Nuke. Doing big tracks and rotos to bring everything together. With
such a big contrast change, edges were heavily adjusted and comped to blend
Was given a rock plate and FG footage of the actors climbing. Actors had heavy work done. To start,
wires covered a majority of them, so those had to be removed and the subjects reconstructed.
Lighting was very different and the sun angle was off, so shadows and highlights had to be
rebuilt, while saving some of the original information.
Added bullet holes and smashed glass throughout the car chase scene. These are done with a mix
of 3D tracking and UV 2.5d tracking to lock the assets in place.
Provided plates of Ryan Reynolds to comp onto stunt driver. Lighting on A plates needed to be
drastically adjusted, Neck hood was also built to add more of a natural look to the back
of the head.
Was told to make BG less set like. Used traditional 2.5d techniques.
The goal was to make the head explode from a grenade in a previous scene. The original plate was a
dummy with no head on it. The rear of head was grabbed from another plate and used as an asset.
The explosion part was a mix of an on-set glow explosion and plates of wine bottles exploding
filmed on a previous day. While comping in misc splatter elements.
Wires were pulled on all the giant magnet scene. This requires a lot of work due to multiple wires,
heavily reflected areas, and wire shadows. After wires are pulled, the blood elements
were comped in.
Crane paint was requested out of this. Was a little tricky due to the smoke path staying linear
throughout the trail it makes. The shot was completed start to finish in about a half-day.
THE VFX in the Once Upon a Time is subtle but still came with challenges mainly due to the very long
duration shots. This shot needed rebuilds of the background greenery because of modern objects
that didn’t fit the 60s story. Things such as phone polls, phone lines, water towers, other sets
needed to be removed and actors comped back on top.
The same technique is done here as listed above. Subtle, yet still comes with the challenge of getting
a smooth linear look on a long duration shot.
This shot was around 1200 frames and again with similar work done. Anything going on in the BG
that wasn’t in the 60s needed to be removed and seamlessly throughout the whole shot.
I was in charge of working directly with Michael Bay on his Hard Rock Commercial. This brought
many challenges due to the quick turnaround and a wide range of shots. Over 80 shots were
completed in under 3 weeks with a small team.
Mask was added due to the director’s request.
The original scene had a football that was not allowed and a shirt with a logo. Assets of the pineapple
were filmed and comped into the shots using a mix of distortion and time remapping on the
filmed asset. This saved the tasks of going with a 3D route that would have taken a lot
longer to complete.
Multiple shots of J-Lo throughout the commercial have her holding a bling cup. The original footage was
filmed using another object which was later needed to be changed. The same idea as above is being
used throughout these shots. Filmed a long steady shot of the asset with a bounce light on it. Using
time remaps and added glows with luma keys resulted in an interactive reflection.
These shots got tricky as the request was to remove the cranes and wires on the building
throughout the commercial. What made them hard was the camera parallax done on a
non-linear surface. Techniques of 3d tracking and projections were used. Once the 3d
projections are established. They would be unwrapped and comped on there with
2.5d tracks added.
Got to do a lot of shots on Blumhouse’s Truth or Dare. Throughout the roof climbing scene. I removed
all wires from the scene. This required rebuilding the roof, BG with moving cars, neighborhood
during the big camera crane motions.
Did most of the main character’s deaths in this movie. This one stood out to me as I found it
the most shocking to the audience.
Was brought on set to do VFX on this music video. The main goal was to comp all three artists
together as they all showed up at different times. Other misc VFX were done to add life to the
video such as graphics, lights, and smoke.
This was a short film done a few years ago. I had around 20 shots all around this idea. Substantial
greenscreen work with a lack of space at the top, causing bulky roto and key mixes to blend
everything together. This shot has been recycled for my online Nuke tutorials so others
can practice and learn.
Was in charge of doing all the VFX for this music video. The idea revolved around doing futuristic
graphic style HUDs and BG comps of fantasy skies, planets, stars. Had an abundant shot list with
a fast turnaround.