This series of shots was completed for Len Wiseman's 2012 reimagining of 'Total Recall'.
The live action plate was not shot with a blue or green screen in the background so I had to rotoscope the cars to separate them and fully rebuild the edges where the original background showed through.
The buildings below the cars are entirely CG. Extensive manipulation and grading of the AOV passes was required in order to achieve the sense of light and shade and stay consistent with the rest of the shots in the sequence. Holographic signs were added to some of the buildings using 3D cards within Nuke and 2D matte painting elements were also positioned and rendered in the far BG, beyond the end of the CG environment to help fill out any gaps.
Additional CG cars were supplied by the 3D department and the live action and CG cars were graded to match. Flashing lights and headlight glints and glows were added to both in order to help tie the two together and some interactive blue light was also added to the tunnel interior.
Finally, some depth hazing and defocus was added to help add a sense of scale to the shot.
This series of shots was completed for Len Wiseman's 2012 reimagining of 'Total Recall'.
The live action plate was shot on a green screen. Care and attention was taken during the keying process to ensure that as much hair and reflection detail could be preserved from the original plate.
The background matte painting was built up from a number of still images and the speed at which it is moving was judged by looking at the shot in the context of the cut.
Additional dirt and scratches were added to the far window and moving reflections were added to the foreground to give the impression that we are looking through glass.
Lastly, some depth hazing and defocus was added as well as some camera shake to help emphasise the sense of speed.
This series of shots was completed for Len Wiseman's 2012 reimagining of 'Total Recall'.
The live action plate was shot on a green screen. Care and attention was taken during the keying process to ensure that as much hair and reflection detail could be preserved from the original plate.
The background environment is fully CG. Extensive manipulation and grading of the AOV passes was required in order to achieve the sense of light and shade and stay consistent with the rest of the shots in the sequence. Holographic signs were added to some of the buildings using 3D cards within Nuke and 2D matte painting elements were also positioned and rendered in the far background, beyond the end of the CG environment to help fill out any gaps.
CG cars were added to the shot and flashing lights and headlight glints and glows were added to tie in with surrounding shots. Spark elements were also supplied by the the FX department for when the car flips over.
Depth hazing and light wrap was added to help add a sense of realism to the shot and moving reflections were added to the foreground to tie in with other shots in the sequence.
Lastly, a focus pull was added to the shot to shift the attention from the flipping car to Jessica Biel.
This two part shot was completed for Len Wiseman's 2012 reimagining of 'Total Recall'.
The original live action plate was shot on a green screen stage with a practical light in the position of where the Harrier craft was meant to be. However it soon became clear that the shot would be more exciting if the harrier was not restricted to the original light's position and movement. The light and lens flare were painstakingly removed using different techniques such as re-projecting clean frames and simple spill suppression.
A matte painting was added to the background of the shot and a set extension was added to the top of the alleyway. A lot of work had to be done to rebuild the edges of the set where the light and lens flare had originally been.
The CG Harrier was added in it's new position and a layer of 2D atmosphere and rain was added to bed everything in.
With the Harrier in it's correct position, a new light and lens flare was created to exactly resemble the original and tracked into place.
This two part shot was completed for Len Wiseman's 2012 reimagining of 'Total Recall'.
The original live action plate was shot on a green screen stage with a practical light in the position of where the Harrier craft was meant to be. However it soon became clear that the shot would be more exciting if the harrier was not restricted to the original light's position and movement. The light and lens flare were painstakingly removed using different techniques such as re-projecting clean frames and simple spill suppression.
A matte painting was added to the background of the shot and a set extension was added to the top of the alleyway. A lot of work had to be done to rebuild the edges of the set where the light and lens flare had originally been.
The CG Harrier was added in it's new position and a layer of 2D atmosphere and rain was added to bed everything in.
With the Harrier in it's correct position, a new light and lens flare was created to exactly resemble the original and tracked into place.
This shot was completed for Len Wiseman's 2012 reimagining of 'Total Recall'.
The live action plate was shot with a green screen on the floor to the left of the upper yellow barrier and another one behind the main droid assembly area. This was keyed and rotoscoped so that the set could be extended down and back giving the impression of a large multi level factory.
The lower levels and the areas behind the main work area are entirely CG. Extensive manipulation and grading of the AOV passes was required in order to achieve the same feel as the existing set. Holographic screens were added to some of the factory machinery using 3D cards within Nuke and live action spark elements were found and added in where appropriate. A combination of CG and green screen extras were positioned on the lower levels.
Finally, glows, optical effects and defocus were used to add a sense of realism.