Woola (The alien dog).
These shots were completed for Disney's 2012 film 'John Carter'.
The live action plate for this shot was filmed with Taylor Kitsch (John Carter) standing on a small portion of stone flooring in front of a green screen. This green screen element was cleaned up and then keyed using a number of different techniques.
The background environment and stone steps were all textured and rendered in Nuke. Flambeaux torch elements were keyed, placed on cards and added along the walls to introduce a little more realism.
Extensive work was carried out on Woola by manipulating the individual AOV passes to get him to sit into the pools of light in the live action plate. The cool blue key light on his back was graded to match the plate, as was the warm torch light on his side. The glints in his eyes were enhanced and adjustments were made to his inner mouth, teeth and gums so that they looked wet, shadowy and realistic.
Late on it was decided that the John Carter element looked too pedestrian so I retimed the plate and added an additional 2D move so that his jump appeared to be more 'super human'.
Woola (The alien dog).
These shots were completed for Disney's 2012 film 'John Carter'.
Extensive work was carried out on Woola by manipulating the individual AOV passes to get him to sit into the pools of light as he moves through the frame. The cool blue key light on his back was graded to match the plate, as was the warm torch light on his side. The glints in his eyes were enhanced and adjustments were made to his inner mouth, teeth and gums so that they looked wet, shadowy and realistic.
The FX department also supplied a drool/saliva element for Woola's mouth as well as a dust trail element and kicked up stones.
Woola (The alien dog).
These shots were completed for Disney's 2012 film 'John Carter'.
Extensive work was carried out on Woola by manipulating the individual AOV passes to get him to sit into the pools of light in the live action plate. The cool blue key light on his back was graded to match the plate, as was the warm torch light on his side. The glints in his eyes were enhanced and adjustments were made to his inner mouth, teeth and gums so that they looked wet, shadowy and realistic.
The FX department also supplied a drool/saliva element for Woola's mouth as well as a dust kick element for when he jumps and lands on the floor.
Directional shadows that matched those found in the original plate were then added to the floor to help fully integrate Woola.
Tharks
These shots were completed for Disney's 2012 film 'John Carter'.
The live action plate for this shot was filmed with a green screen background. Tracking markers were removed and the plate was keyed and despilled and a matte painting was added to extend beyond the edge of the set.
The CG Tharks and Woola were supplied by the 3D department in layers so that I had full control in comp over the different groups. Extensive grading work was carried out by manipulating the individual AOV passes to faithfully match the lighting of the live action plate.
Shadow passes were also supplied so that shadows could be cast from one group of Tharks on to another and also on to the floor. 2D shadows also had to be cheated on to John Carter when he is crouched down at the beginning of the shot.
The FX department supplied a subtle dust element which I used around the feet of the Tharks to help bed them in and I also added an impact puff of dust when John Carter punches the Thark.
Lastly, I added some subtle depth hazing to the CG and all the usual optical tricks: chromatic aberration etc.
Tharks
These shots were completed for Disney's 2012 film 'John Carter'.
The live action plate for this shot was filmed with a green screen in the background. Tracking markers were removed and the plate was keyed and despilled and a matte painting was added to extend beyond the edge of the set.
The CG Tharks were supplied by the 3D department in layers so that I had full control in comp over the different groups. Extensive grading work was carried out by manipulating the individual AOV passes to faithfully match the lighting of the live action plate and I also used the CurveTool to analyse the flickering fire light in the original plate and added it to some of the Tharks to help integrate them further.
Shadow passes were also supplied so that shadows could be cast from one group of Tharks on to another and also on to the floor.
Lastly, I added some subtle depth hazing and defocus to the CG and all the usual optical tricks: chromatic aberration etc.
Tharks.
These shots were completed for Disney's 2012 film 'John Carter'.
The live action plate for this shot was filmed with a green screen in the background. Tracking markers were removed and the plate was keyed and despilled and a matte painting was added to extend beyond the edge of the set.
The CG Tharks were supplied by the 3D department in layers so that I had full control in comp over the different groups. Extensive grading work was carried out by manipulating the individual AOV passes to faithfully match the lighting of the live action plate and I also used the CurveTool to analyse the flickering fire light in the original plate and added it to some of the Tharks to help integrate them further.
Shadow passes were also supplied so that shadows could be cast from one group of Tharks on to another and light wrap was added where the Tharks are standing in front of the flambeaux/torches.
Lastly, I added some subtle depth hazing and defocus to the CG and all the usual optical tricks: chromatic aberration, etc.
Tharks
These shots were completed for Disney's 2012 film 'John Carter'.
The live action plate for this shot was filmed with a green screen background. Tracking markers were removed and the plate was keyed and despilled and a matte painting was added to extend beyond the edge of the set.
The CG Tharks and Woola were supplied by the 3D department in layers so that I had full control in comp over the different groups. Extensive grading work was carried out by manipulating the individual AOV passes to faithfully match the lighting of the live action plate.
Shadow passes were also supplied so that shadows could be cast from one group of Tharks on to another and also on to the floor.
The FX department supplied a dust trail element which I used to help integrate Woola when he starts to run.
Lastly, I added some subtle depth to the CG and all the usual optical tricks: chromatic aberration, etc.
Tharks.
These shots were completed for Disney's 2012 film 'John Carter'.
The live action plate for this shot was filmed with a green screen in the background. Tracking markers were removed and the plate was keyed and despilled and a matte painting was added to extend beyond the edge of the set.
The CG Tharks were supplied by the 3D department in layers so that I had full control in comp over the different groups. Extensive grading work was carried out by manipulating the individual AOV passes to faithfully match the lighting of the live action plate and I also used the CurveTool to analyse the flickering fire light in the original plate and added it to some of the Tharks to help integrate them further.
Lastly, I added some subtle depth hazing and defocus to the CG and all the usual optical tricks: chromatic aberration etc.