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In the Raw - Main Spot

Role: Lead Compositor
Software: After Effects
Compositors: Renzo Reyes, Claudia Yi Leon, James Ramirez, Sean Apple
Produced at We Are Royale

This was a really fun campaign to work on. As the Lead of an amazing team of After Effects compositors, my hands were pretty full across all four spots. Whether it was setting up comp templates, keeping the pipeline free of any bottlenecks, working on shots, collaborating with the 3d team, dealing with internal and client notes or keeping consistency across all shots; the team and I delivered an amazing set of spots. Our 3d team consisted mostly of C4D generalists and a couple of Maya modelers.

The creative brief called for plenty of dappled sunlight which we worked hard on keeping consistent throughout the entire series of spots. The In the Raw campaign was created using mainly Cinema 4D and After Effects. For compositing, I made sure the entire team moved onto a Linearized Working Space inside After Effects. The 3d team was working also in Linear space inside C4D and rendering out EXR images for us. Therefore, a complete Linear workflow meant that we could have a LOT of control in compositing.

Across the board we used an additive approach when compositing all the multipasses from C4D, that allowed a lot of control for Art Directors and compositors. Additive approach meant that we combined all the raw, reflection and other lighting passes to rebuild the final image in comp. Why do that? Because of something I’d like to call flexibility. Having the flexibility of fixing things in the comp stage (even at the last minute) without having to go back to 3D for renders (even with fast render machines or GPU renderers).

Sugar in the Raw

Stevia in the Raw

Monk in the Fruit