These shots were completed for the 2010 film 'Scott Pilgrim vs. the World' directed by Edgar Wright.
The challenge was to take the creative ideas from the Director and Editor and turn them into polished final shots.
These shots were completed before the crossover to Nuke so tracking data had to be generated in Maya and imported into Shake's 4 point tracker. The Graphics/Text were supplied by the client along with a reference frame for me to match position to. A number of versions with different timings were shown to the client so that they could choose their favourite.
These shots were completed for the 2010 film 'Scott Pilgrim vs. the World' directed by Edgar Wright.
The challenge was to take the creative ideas from the Director and Editor and turn them into polished final shots.
These shots were completed before the crossover to Nuke so tracking data had to be generated in Maya and imported into Shake's 4 point tracker. The Graphics/Text were supplied by the client along with a reference frame for me to match position to. A number of versions with different timings were shown to the client so that they could choose their favourite.
This shot was completed for the 2010 film 'Scott Pilgrim vs. the World' directed by Edgar Wright.
The challenge was to take the creative ideas from the Director and Editor and turn them into polished final shots.
This particular shot involved combining 3 separate live action scans to make the final shot. Each plate had to be tracked and retimed so that each one could transition smoothly into the next one.
The 'BBRRRRRRR' graphic was tracked in 2D so it worked seamlessly over the 3 different live action elements for the duration of the shot.
This shot was completed for the 2010 film 'Scott Pilgrim vs. the World' directed by Edgar Wright.
The challenge was to take the creative ideas from the Director and Editor and turn them into polished final shots. For this shot all the separate elements, including graphics, were supplied by the client along with a reference quicktime.
The live action plates were shot on a blue screen. These were cleaned up and keyed paying special attention to keeping as much hair detail as possible. The 2 separate actor elements were then slipped and retimed to match the reference.
The background was built up from a number of still photographs taken on set and the 'KO' and other graphics were added with FX dust, glows and other optical effects.