Lighting/Compositing Reel Federico La Tona - 2018

This was one of the longest shot we had in our facility for the show. The shot originally had Tom Holland crawling on the ceiling held by a rig attached to the ceiling, but later on it was decided that s simple wire removal wasn't going to work. Instead, we decided to outsource the plate to paint out the rig on the ceiling, and replace the body entirely with a CG model of Spiderman. I was in charge of lighting and compositing every element of the shot, making sure that the light rig would match as closely as possible to the plate, and composite everything so that the CG body would blend with the head from plate. The blinds on the window also had to be replaced with CG ones to interact with Spiderman when he enters the room.

In these shots I pulled a Green screen key from Benedict Cumberbatch, as well as rendering from Maya the CG planetoids in the background, smoke and embers in the Foreground.

This shot is a combination of Blue Screen key as T'Challa enters the interrogation room, and CG body replacement for the suit. I had to set up the light rig in Katana using 3 different setups created previously, and comp the suit, matching as close as possible to original plate. Together with the suit I also lit, rendered and comped the broken glass.

this shot is a stitch of three different plates merged into one, creating room needed to allow the camera movement. I was in charge of lighting the CG model, comp it and match it as close as possible to the original plate.

For these shots I was tasked to render the CG elements using a light rig setup by another artist. The flame drink required some R&D before getting to the final look. Also, per client request, I was asked to make the blue armor on the soldier on screen right look more metallic in comp. So I created a template that other artists could use to match the look from my shot.

This was one of the first shots we got from this show. I worked on it from the beginning to end. I started by setting up the light rig for the CG Spiderman , that later would be made into template for sister shots. Because we didn't have FX artists available to simulate the debris moving as Spiderman landed, I left the original plate at the bottom on his feet, and seamlessly blend the CG suitor the top part.

This shot required some painting that we outsourced (especially removing the left hand of the character). My work involved pulling the key right behind Michael Fassbender, and extend the top part of the BG since it was missing from the original plate.

These 2 shots were assigned nearly towards the end of the show. the first one presented some challenges due to the lack of Green Screen to isolate Benedict Cumberbatch. In the end it was a combination of keylight and roto. The rest of the background I rendered the elements from the master light rig set up in Maya by another artists. The elements involved the ground, embers, smoke, light from the Eye of Agamoto, the bracelets on his left arm, BG planetoids. In comp, we all tweaked our Maya renders to match creatively what the director wanted. That involved also animating specific passes to make the environments (near and far) feel alive.