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Harimander Khalsa
VFX / Compositing Supervisor
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Digital Effects Supervisor & Compositing Superviso
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2 likes
0:03-0:10
Selma
DFX Supervisor
The client wanted to rework the camera move after this was already shot. Because of the parallax throughout the move it wasn't as simple as just doing a stabilization and retime. We camera tracked the shot, cut out all the people, projected them on cards and added a new smooth camera move. Because the camera changed it required reconstruction.
Tools:
Nuke, Syntheyes
0:11-0:14
Selma
DFX Supervisor
They needed a POV shot from the podium, but didn't have one so we had to get creative. We started working with some stills from set and then started to build in the crowds from blue screen elements they had shot. The plate is essentially a matte painting. We shot some of the flags in house as additional elements to help cover duplicated people.
Tools:
Nuke, Photoshop
0:16-0:21
Pixels
DFX Supervisor
This shot needed specific dialogue added to historical footage of the character. We used real clips of Ricardo Montalban and Hervé Villechaize and replaced their faces with animation to match the dialogue from the script. We ended up replacing from below the eyes down.
0:23-0:36
Batman v Superman: Dawn of Justice
Digital Effects Supervisor
Superman is supposed to be high in the mountains, but it wasn't actually shot that way. We had to replace the BG where the ground was visible adding more mountain ranges. We graded parts of the plate to look less green and more like snow. We added in CG clouds, and CG blowing snow/wind. The FX were very challenging to get looking photoreal.
Tools:
Nuke, Syntheyes, Maya, PS
0:54-1:52
Daredevil
Compositing Supervisor
We added the wounds, blood, CG chain knife. There was extensive paint involved for mats, removal of props, and clothing/wound adjustments. This sequence got the episode nominated for an Emmy award in Best Supporting VFX.
1:54-2:01
Black Sails
Compositing Supervisor
We were given a FG plate with a portion of set wall. We needed to use the actor's from the plate, but we had license to create everything else around them. We did the far BG as a painting, and some of the closer elements in CG.
2:01-2:06
Black Sails
Compositing Supervisor
This shot was composed of four plates that were stitched together to make it appear as one very long shot with an added overall retime. We did a CG carriage and horses, and a digidouble for the person hanging on the back. When the carriage crashes and rolls we added many FX passes as well as a bit of stock dust/atmosphere to make it work.
2:30-2:39
The Wolverine
Compositing Supervisor
This X Ray sequence required a great deal of look dev and design. We only had a vague idea to go from and generated the look based on research into different types of xrays and imaging processes. In the end the CG passes were used as a basis to apply a comp look, The look itself was achieved mainly in comp.
Tools:
Nuke. Maya
4:03-4:13
22 Jump Street
Compositing Supervisor
We were tasked with filling the stadium. We utilized dozens and dozens of 2D elements shot on green screen to do so. These were all prepped and keyed to be put on cards in Maya. The 3D team rendered out passes of the crowd with some extra data, like shadows and bumpnormals we generated from lumakeys, so we could add extra details for integration.
Tools:
Nuke, Syntheyes, Maya
4:20-4:22
Olive Kitteridge
Compositing Supervisor
This is a POV shot where the person is hallucinating. Frances McDormand, who plays the title character, Olive, transforms into an elephant. We did extensive research into Asian Elephants. The original head was removed. We tried to keep the eyes and feel of Frances McDormand, taking cues from her action and mannerisms. I composited these myself.
Tools:
Nuke
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