Austin Ramsey 2023 Demo Reel

Look Dev and final comp for the audiences first look at Krill City. To create this high atmos look and showcase the cities vast building scape, we used a mix between 2D, 3D and Deep elements. Motion graphic buildboards were place in 3D space a long with pin lights in the far bg to simulate city lights on top of the mountain side. I researched large city street layouts and duplicated a vector layout for the colorful Krill streets then used that to light up certain areas of atmos to give depth. along with VDB's, I also used Nuke's particle sim to create the effect of the camera moving through the clouds.

Intergration of dozens of quarantine tents, flood lights, concrete ground plane, trees and crowd was integral into cretaing this wide shot of the Utopia quarantine site. Optical flares helped create these realistic flood lights which cast their light onto the cg tents and crowds walking by.
Dozens of trees, tents and crowds were made to create this quarantine shot special. Integration was key.

A mix of Houdini and Clarrise deep renders were given to me to integrate these massive reactor explosions that would later destroy the planet.

Blue screen driving comp along with a Nuke 3D projected reflection of the Jokers evil doings
Not many people know that in the Joker, most, if not all, of graffiti on the walls, posts, train, etc. was added by a compositor. We had hundreds of graffiti artwork to choose from. I created the concept for this particular shot and finaled the comp.
The graffiti for these train shots were particular interesting. I was tasked in QC'ing and running a continuity check for this entire sequence. I first laid out still frames for all interior train shots which later projected onto a 3D interior train shell in Maya. Then, depending on the complexity of the shot, the graffiti was rendered out in either maya or manually place in nuke. Roto and integration as the lights flash were a must.

The New Years scene was shot on a large blue screen. I had to pull a near perfect key as we did not have budget for any oursource roto. I was then later given DMP city scapes, CG buildings, buildboards and crowds to integrate into this final look.

The integration of Randall took sometime, due to the fact that it was shot in broad daylight and we needed to feel that Kelly was indeed running underneath this massive monster. Many SSS passes were used to give Randall even more life
Randall was placed on a projected still of a previous shot and then blended with the help of SSS passes, lighting cues and sunflares. The blood flying from his eye were 2D elements integrated into the shot.
I received 3D renders of Randall, SSS passes, shadows, fences to integrate to the shot. Using 2D dust and debri elements to help emphasize Randalls weight when he runs and falls

Blue screen comp of Lestat on a grate. 2D fire and smoke elements placed around him along with a 2D heat ripple effect. DMP provided a large head wound which I tracked, colored and reflected fire specs in the blood.
The fire on the book was created with 2D elements of burning steel wool mocha tracked on the book. The embers flying off the book were created both in Nukes 3D particle system and Embergen. The flame in his hand was hand painted by each frame. I created a paint gizmo that would differentiate color and glow. As he flips open the book embergen sparks fly out.

Green screen driving comps along with 2D/3D eye socket. Some paint was needed for his eye but mainly it was creating the illusion of depth within the eye socket to sell the effect.
With the use of Deep, I was able to layer the falling boxes and vials seamlessly into this shot. Some boxes/vials would fall infront of or behind the fork lift so I projected 2D roto on cards/cubes to help with overlapping issues.

Split comp of the FG characters reacting to the Hollywood sign's destruction. The mudslide came from 3D and I added some 2D dust elements to help blend it all together. I created the zoom in effect to get the cam closer to the destruction.
A DMP was created for the broken dam and I used 2D atmos and some water elements to blend the FX water with the dam. FX water was then colored to simulate the water picking up dirt and mud. The wave interacts with CG trees. I even added a rainbow for fun

At first this shot was 1/2 the the length. The client loved the concept so much that they changed the length of the shot many times. The characters were on set with a blue screen around the room. However, the set did not cover the whole frame so as the camera pulls back through the window, I had to recreate more of the kitchen area you see to the left. Through paint and projected material I recreated much of that SL side. After the camera pulls through the window, we see a nuke projected reflection of the space station. This shot was a blast to work on because I was tasked with finding the perfect image of Earth. I researched for a few days and finally found a 8k unwrapped image taked from ISS. The image was still not large enough so I painted the image up a bit. Optical flares and chromatic aberrations were used as well.