OCULUS TOUCH
Role: Lead Compositor
Software: Nuke
Compositors: Renzo Reyes, Scott Crawford, Josh Studebaker, Aya Peard
Created at We Are Royale
Back at it with a team of great compositors, we jumped in to bring this ambitious spot to life. This time showcasing the new Touch controls for the Oculus Rift. The creative brief called for an even deeper sense of immersion in the game by blending the live action world with CG. The team and I were tasked with the first half of the spot which included 2 games: Dead and Buried (first person shooter) and Ripcoil. Some shots involved paint + cleanup (tracking markers removal, beauty work) and screen tracks and replacements (TV). My main task was crafting a beautiful game cinematic for Dead and Buried which then could be used for the mixed reality shots (live action + cg).
We started by creating a solid foundation utilizing the 3D renders (Maya) and rebuilding the final image inside Nuke using the additive compositing approach. This workflow allowed the team to have complete control over the composite. The difference between the beauty render straight from 3d and the final composite in Nuke (using the additive approach) was night and day. Nuke is a great tool for carefully crafting beautiful cg compositions since the node based workflow and great 3d environment support allows you to control images in a subatomic level.
Lots of atmosphere effects (fog, debris, dust, volume lights, muzzle flashes), which were created in Nuke, helped to elevate the game cinematic shots and really inmerse the players (actors) in the experience. Subtle hints of heat distortion, refractions and interactive lighting were also added as we got closer to the end of the project.
As with many other projects, my tasks as Lead Compositor also included making sure everything moved smoothly through the pipeline by addressing any bottlenecks as soon as possible. I was also in charge of checking and setting up lens distortion workflows in Nuke, supervising rotos and keeping track of 3d assets/ renders.
Lots of atmosphere effects (fog, debris, dust, volume lights, muzzle flashes), which were created in Nuke, helped to elevate the game cinematic shots and really inmerse the players (actors) in the experience. Subtle hints of heat distortion, refractions and interactive lighting were also added as we got closer to the end of the project.
As with many other projects, my tasks as Lead Compositor also included making sure everything moved smoothly through the pipeline by addressing any bottlenecks as soon as possible. I was also in charge of checking and setting up lens distortion workflows in Nuke, supervising rotos and keeping track of 3d assets/ renders.
STILLS
