BEN AND JERRY’S TOPPED
Role: Lead Compositor
Software: Nuke
Compositors: Renzo Reyes, Kevin Kim, Krystal Chinn
Produced at We are Royale
Magical Realism is the visual style that We Are Royale pitched for this Ben and Jerry’s UK spot. Vast green hills with beautiful blue skies, sun flares washing over the lens and creamy rich chocolate and caramel are just a few of the things that we focused on.
As Lead Compositor, I was in charge of figuring out how to achieve Magical Realism in the compositing stage of production. By combining matte paintings (styleframes) with the Maya/Vray renders and adding lens fx + atmosphere elements (generated in comp) we got a pretty good looking result. We projected the matte paintings onto geometry inside of Nuke to add depth to all the scenes.
Another of my main tasks was to set up the Nuke comps so we could rebuild the final image using the additive technique and Vray AOVs. Those comps were later shared with the other compositors in the team so we could have a consistent look and workflow across the board.
The purpose of this approach was to have the utmost control in compositing so we could match the approved concept frames and allow Art Directors flexibility when asking for changes. That same approach allowed us to do last minute adjustments like replacing labels on the pints and lids. A lot of love and care we into finessing the look of the caramel, chocolate and brownie bits.
BEFORE AND AFTER
Magical Realism is the visual style that We Are Royale pitched for this Ben and Jerry’s UK spot. Vast green hills with beautiful blue skies, sun flares washing over the lens and creamy rich chocolate and caramel are just a few of the things that we focused on.
As Lead Compositor, I was in charge of figuring out how to achieve Magical Realism in the compositing stage of production. By combining matte paintings (styleframes) with the Maya/Vray renders and adding lens fx + atmosphere elements (generated in comp) we got a pretty good looking result. We projected the matte paintings onto geometry inside of Nuke to add depth to all the scenes.
Another of my main tasks was to set up the Nuke comps so we could rebuild the final image using the additive technique and Vray AOVs. Those comps were later shared with the other compositors in the team so we could have a consistent look and workflow across the board.
The purpose of this approach was to have the utmost control in compositing so we could match the approved concept frames and allow Art Directors flexibility when asking for changes. That same approach allowed us to do last minute adjustments like replacing labels on the pints and lids. A lot of love and care we into finessing the look of the caramel, chocolate and brownie bits.
The purpose of this approach was to have the utmost control in compositing so we could match the approved concept frames and allow Art Directors flexibility when asking for changes. That same approach allowed us to do last minute adjustments like replacing labels on the pints and lids. A lot of love and care we into finessing the look of the caramel, chocolate and brownie bits.