This promo shot was produced as part of a social media campaign for Director, David Fincher’s Netflix Series ‘Mindhunter’. Although the shot was designed to be viewed primarily on phones and tablets, It was worked up to be film quality at 3K resolution.
The shot involved extensive clean up work. The foreground camera equipment and dolly tracks were removed, cleaned up and replaced with a concrete floor texture. Position markers were removed from the tabletop and although the shot was filmed with a real microphone base (primarily for the actors to interact with) it was decided to remove this completely and replace with CG.
The cage/fence on the right-hand side of the shot was completely removed and repositioned more centrally. A matching fence was then added to the left-hand side in order to balance the shot and give it more symmetry.
The end of the shot had to be completely reprojected on to geometry in Nuke to allow for the extreme camera move through the front of the microphone.
Lastly, the CG microphone was carefully graded, depth queued, and grained, over the duration of the shot, to match the original footage.
Off the back of our work on the promo shot, we were awarded further shots on the Mindhunter series.
This was a stand-alone fully CG shot
The shot was extensively graded to match reference footage supplied by the client.
The various light passes were carefully balanced in comp and animated grades were applied to the headlight passes to make the car appear as if it was traveling over an undulating road surface.
Atmospheric mist/fog passes were created in Nuke and bedded in to add an extra sense of realism and to match surrounding shots.
Finally, depth hazing, subtle glow, light wrap, and vignetting were added to increase the sense of realism.
This was another stand-alone shot created for the Netflix series, Mindhunter.
The foreground element was shot on a green screen and had to be keyed, taking care to preserve as much dirt and detail on the glass as possible.
The fully CG background element had to be extensively graded to match reference footage supplied by the client.
Extra life and movement were added to the background trees in comp and light wrap and subtle God rays were also dialed in to give the feel of early evening.