Robyn Ducharme

Digital Compositor / Lighting Artist

Compositing Show Reel

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0:03-0:09

Rock of Ages

Compositor

I composited the entire shot. The matte paintings were created by another department, then I integrated them with the live action plate using Nuke's 3D system.

Tools: Nuke
0:09-0:17

The Equalizer

Compositor

This shot was a sky replacement. The sky didn’t match up with the shot before it, so a new was created. The bridge, power-lines, and the tops of the buildings had to be keyed and the new sky integrated into the shot.

Tools: Nuke
0:17-0:25

Fury

Paint Artist

This was a paint shot. I had to use paint techniques to remove a guy that was running across from screen right to screen left. I also dust busted the entire shot.

Tools: Nuke
0:25-0:30

Southpaw

Compositor

I composited the crowd and stadium behind the boxer. The crowds were created with a tool where elements had to be adjusted to fit the shot. I also had to match the warped defocus to the plate.

Tools: Nuke
0:30-0:35

Amazin'

Compositor

I composited the entire shot. Another department created the computer generated crowd. I integrated the crowd and stands with the foreground player. I also color corrected and defocused the background. The integration of the foreground plate involved a lot of hair keying and recreation.

Tools: Nuke
0:35-0:38

The Book of Life

Lighting and Compositing Artist

I lit and rendered the scene in Houdini. The CG layers were then deep composited using Nuke.

Tools: Houdini, Nuke
0:38-0:42

Get Hard

Compositor

The shot was filmed on a green screen. After keying the plate I added the background and integrated it with the foreground, as well as adding layers of dirt and reflections on the glass.

Tools: Nuke
0:42-0:44

Compositor

The helmet was a CG render that I composited on top of the character’s head to match the lighting and color in the plate.

Tools: Nuke
0:44-0:47

The Equalizer

Compositor

I completed paint fixes on the shot and animated the cloth on his shoulder to move with the explosion.

Tools: Nuke
0:47-0:49

The Equalizer

Compositor

I created the explosion’s reflection on the side of the truck and added dust and debris at Denzel’s feet.

Tools: Nuke
0:49-0:52

Southpaw

Compositor

I composited the crowd and stadium behind the actors. The crowds were created with a tool where elements had to be adjusted to fit the shot.

Tools: Nuke
0:52-0:56

The Ridiculous 6

Compositor

Four plates were shot and had to be composited together to form one shot. Color correction and warping of the plates were done.

Tools: Nuke
0:56-0:58

Compositing

The puppy was shot on a green screen. I composited the puppy in front of the background that I was given. I also warped the puppy to make it look as if it were swaying in the wind.

Tools: Nuke
0:58-0:59

Compositor

I created the lens flare in this shot from scratch in Nuke.

Tools: Nuke
0:59-1:01

Lighting and Compositing Artist

I lit the main character in this shot in Maya and rendered it. I then Composited it using Nuke.

Tools: Maya, Nuke
1:01-1:10

Rock of Ages

Compositor

I helped out on this shot by completing the edge integration, while the compositor of the shot set up the matte paintings. I recreated the edges and hair so they blended in with the matte painting background.

Tools: Nuke
1:10-1:13

The Do Over

Compositor

I keyed the tablet, which had a green screen. I then added and match-moved the pictures onto the tablet screen. I also painted out the tracking markers on the corners of the tablet.

Tools: Nuke
1:13-1:17

Transformers: Dark of the Moon

Stereoscopic Compositor

This is a stereo shot. I painted and recreated the water and everything behind the bridge to make the offset for the right eye view. I also keyed the reflections in the river, so that they could be seen at a different depth than the surface of the water.

Tools: Nuke
1:17-1:21

Free Birds

Compositor

This was a deep composited shot. I matched this shot to surrounding shots and color corrected it to give the shot the feel that the director was looking for. I also changed the look and atmosphere of the shot and added God Rays in the background.

Tools: Nuke
1:21-1:23

Sex Tape

Compositor

I added in the falling guy and dog into the main place and retimed them.

Tools: Nuke
1:23-1:24

Southpaw

Compositor

I created the reflections of the boxers in the man’s glasses.

Tools: Nuke
1:24-1:34

The Equalizer

Compositor

I created blood and tracked it to the wall. I also removed the practical blood that was already there.

Tools: Nuke
1:34-1:38

Heads-Up Display

Stereoscopic Compositor

These are stereo shots. I converted the 2D version of the shots to 3D. I didn't start the shots, but I had to go in the Nuke scripts and make fixes, so it looked like the 2D version. I finaled the shots.

Tools: Nuke
1:38-1:41

The Book of Life

Compositor

I matched this shot to
surrounding shots and color corrected it to give the shot the feel that the director was looking for. I also fixed technical issues throughout the shot.

Tools: Nuke
1:41-1:45

Rock of Ages

Compositor

I composited the entire shot. The matte paintings were created by another department. I integrated them with the live action plate using Nuke's 3D system. The integration of the foreground plate involved a lot of hair keying and recreation.

Tools: Nuke
1:45-1:49

The Smurfs

Stereoscopic Compositor

This is a stereo shot. I had to paint and recreate everything behind the actor’s head to make the offset for the right eye view. I also recreated his hair because it couldn't be rotoscoped.

Tools: Nuke
1:49-1:52

Free Birds

Compositor

This was a deep composited shot.I changed the look and atmosphere of the shot and added God Rays in the background. I also brightened the faces of the characters to make them stand out more.

Tools: Nuke

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