These shots were completed for the 2011 film 'Paul' directed by Greg Mottola.
The main challenge for these shots was creating a lead character that could look entirely convincing in a live action film.
The Director and VFX Supervisor were very specific about the way they thought Paul's skin should be. This meant that extensive manipulation and grading of the AOV passes was required in order to achieve a consistent look and feel for Paul in a number of varied lighting conditions throughout the film. Many versions were produced trying to get the right balance ensuring that Paul didn't cross over into becoming too beige, too mint green, chalky or plastic looking whilst also making sure that features such as his mouth and eyes retained the correct wetness.
It was obviously also important that Paul was fully integrated into the live action plates so a lot of time was spent on his interaction with real life objects and making sure his shadows were correct.
Finally, light wrap, grain and chromatic aberration were added to increase the sense of realism.
These shots were completed for the 2011 film 'Paul' directed by Greg Mottola.
The main challenge for these shots was creating a lead character that could look entirely convincing in a live action film.
The Director and VFX Supervisor were very specific about the way they thought Paul's skin should be. This meant that extensive manipulation and grading of the AOV passes was required in order to achieve a consistent look and feel for Paul in a number of varied lighting conditions throughout the film. Many versions were produced trying to get the right balance ensuring that Paul didn't cross over into becoming too beige, too mint green, chalky or plastic looking whilst also making sure that features such as his mouth and eyes retained the correct wetness.
It was obviously also important that Paul was fully integrated into the live action plates so a lot of time was spent on his interaction with real life objects and making sure his shadows were correct.
Finally, light wrap, grain and chromatic aberration were added to increase the sense of realism.
These shots were completed for the 2011 film 'Paul' directed by Greg Mottola.
The main challenge for these shots was creating a lead character that could look entirely convincing in a live action film.
The Director and VFX Supervisor were very specific about the way they thought Paul's skin should be. This meant that extensive manipulation and grading of the AOV passes was required in order to achieve a consistent look and feel for Paul in a number of varied lighting conditions throughout the film. Many versions were produced trying to get the right balance ensuring that Paul didn't cross over into becoming too beige, too mint green, chalky or plastic looking whilst also making sure that features such as his mouth and eyes retained the correct wetness.
It was obviously also important that Paul was fully integrated into the live action plates so a lot of time was spent on his interaction with real life objects and making sure his shadows were correct.
Finally, light wrap, grain and chromatic aberration were added to increase the sense of realism.
These shots were completed for the 2011 film 'Paul' directed by Greg Mottola.
The main challenge for these shots was creating a lead character that could look entirely convincing in a live action film.
The Director and VFX Supervisor were very specific about the way they thought Paul's skin should be. This meant that extensive manipulation and grading of the AOV passes was required in order to achieve a consistent look and feel for Paul in a number of varied lighting conditions throughout the film. Many versions were produced trying to get the right balance ensuring that Paul didn't cross over into becoming too beige, too mint green, chalky or plastic looking whilst also making sure that features such as his mouth and eyes retained the correct wetness.
It was obviously also important that Paul was fully integrated into the live action plates so a lot of time was spent on his interaction with real life objects such as the bird which was keyed from a green screen and 2D tracked into Paul's hands.
Finally, light wrap, grain and chromatic aberration were added to increase the sense of realism.
These shots were completed for the 2011 film 'Paul' directed by Greg Mottola.
The main challenge for these shots was creating a lead character that could look entirely convincing in a live action film.
The Director and VFX Supervisor were very specific about the way they thought Paul's skin should be. This meant that extensive manipulation and grading of the AOV passes was required in order to achieve a consistent look and feel for Paul in a number of varied lighting conditions throughout the film. Many versions were produced trying to get the right balance ensuring that Paul didn't cross over into becoming too beige, too mint green, chalky or plastic looking whilst also making sure that features such as his mouth and eyes retained the correct wetness.
It was obviously also important that Paul was fully integrated into the live action plates so a lot of time was spent on his interaction with real life objects and making sure his shadows were correct.
Finally, light wrap, grain and chromatic aberration were added to increase the sense of realism.
These shots were completed for the 2011 film 'Paul' directed by Greg Mottola.
The main challenge for these shots was creating a lead character that could look entirely convincing in a live action film.
The Director and VFX Supervisor were very specific about the way they thought Paul's skin should be. This meant that extensive manipulation and grading of the AOV passes was required in order to achieve a consistent look and feel for Paul in a number of varied lighting conditions throughout the film. Many versions were produced trying to get the right balance ensuring that Paul didn't cross over into becoming too beige, too mint green, chalky or plastic looking whilst also making sure that features such as his mouth and eyes retained the correct wetness.
It was obviously also important that Paul was fully integrated into the live action plates so a lot of time was spent on his interaction with real life objects and making sure his shadows were correct.
The feather that Paul burps up was a taken from a still picture that I hand animated in comp.
Finally, light wrap, grain and chromatic aberration were added to increase the sense of realism.