Role: Lead Compositor Software: Nuke Compositors: Renzo Reyes, Kevin Kim, Thomas Smith III, Scott Crawford
Created at We Are Royale
Armed with a stellar team of Nuke compositors, we delivered these three amazing spots for Oculus: Edge of Nowhere, Climb and Lucky’s Tale. These were some of the first games that shipped with the Oculus Rift system.
As Lead compositor, I was in control of establishing the look for all three in game cinematics inside Nuke. Once approved by client and ADs/CDs, all other compositors jumped in to help with the project. Other tasks as Lead included making sure that there were no bottlenecks in the compositing pipeline. These duties ranged from supervising other artists, troubleshooting nuke scripts, paint + clean up, setting up template comps to rebuild beauty + render passes, tracking + lens distortion workflows, building particles effects in Nuke (snow, debris, dirt) to jumping in last minute and help things move forward before delivery.
Most of my time was spent working on the “Edge of Nowhere” spot, both live action and cg sections. All the particle and atmospheric effects were created in compositing. I used a combination of Nuke’s particle system along with stock elements and simple noises placed on cards across the entire scene (using Alembic files and depth/ world passes for holdouts). It was my duty as a Lead Compositor to use all the techniques/ elements at my disposal to make sure we hit the mark and achieve the look/feel we were going for.
For the live action portions on Edge of Nowhere, we used mostly matte paintings (projected onto geo) to create the frozen environments. We had great matte painters crafting beautiful images for us to work with. Other shots included frozen elements/ fx created either in Maya or Cinema 4d. In comp, it was our job to make sure it all looked well integrated, regardless of where it came from. See if you can catch those snowflakes hitting and sticking to the lens on one of the shots. Subtle but yet effective.