CHARACTER & LIGHT TD

30 March 2015, Amsterdam.

HE’S ALIVE!

This project is a campaign of 6 films. The schedule for the lot was from March till June to deliver them all, as the material from the shoot were coming in. As the references, concepts and first footages were coming in, the setup for the character, shots tracking & lighting pipeline were being developed.
The team had Juan A. Ruiz as La Huella VFX Supervisor, Jérôme Debève as 3d Lead, Gerardo with the character Model&Textures and also helping me with tracking, David with animation, and Ivan on Flame smoking the layers together and grading the final polished frames.
Agency : Havas Director : Augusto Fraga Production: Krypton Films

CONCEPT

Well, first things first. Whilst in concept, all attention was focused on the eyes to convey the expressions, the body wasn’t really in unison consensus amongst all involved, and contrast between joints and body needed to be checked out also.

CONCEPTS – SOME OF THE SKETCHES FROM THE CREATIVE TEAM @ LA HUELLA FX

LIGHTING

Through out the project, we had about 5 different environments to solve.
The first and main film was mainly in-doors, and the DOP took some beautiful shots from each room. So the lighting workflow needed to be flexible and fast.

We kept the solid approach towards matching lights and tracking. Stick to what you know works well, in other words. So we had a styrofoam ball for white reference, as well grey and reflective one. Also had on set, a printed cut out of the “early stage” model, to help out solving actor eye-lines and shot framing.

MATCHMOVE

To help us pull all the shots on schedule, we had carefully planned to keep a good balance between fixed camera shots and moving camera shots. Tracking was done using a mix of PFtrack and clever techniques of manual tracking to help get the shots out to the previs/editing stage with matched lens and moves in a blink.

MODEL

To help us pull all the shots on schedule, we had carefully planned to keep a good balance between fixed camera shots and moving camera shots. Tracking was done using a mix of PFtrack and clever techniques of manual tracking to help get the shots out to the previs/editing stage with matched lens and moves in a blink.

CHARACTER RIGGING

To help us pull all the shots on schedule, we had carefully planned to keep a good balance between fixed camera shots and moving camera shots. Tracking was done using a mix of PFtrack and clever techniques of manual tracking to help get the shots out to the previs/editing stage with matched lens and moves in a blink.

RENDERING

REDSHIFT