Chris Forrester – Senior Compositor
http://www.chrisforrester.limited +44 [0] 7719962291 [email protected]
Compositing Showreel Breakdown
Compositing of entire shot. The 2D bunny has
digital highlight/shadows created, these are used to
grade the original artwork giving the impression of
3D form. The various colours of the bunny that fall
within the shadows and highlights have all been
graded to create an as accurate product
representation of the bunny.
Shot tracked for 3D and 2D, digital pizza box made
using Maya and rendered using Mental Ray. All
elements composited to integrate with the live
action plate.
This shot required a ceiling and keying. It was
tracked using Nukes camera tracker and geo built
using Nukes toolset. The new ceiling was camera
projected and a dark frame was placed at the end
of the room to tie the four walls together. Extra
light effects and warm grades were added.
The fire tunnel was created using stock footage
within 3D space and a camera moving through the
tunnel. Blending modes were used to overlay the
footage and a script was used to fade the layers as
they move further away from the camera. Packshot
was composited, flares and DOF added.
Red nose day version created, as well as Christmas
variants. Usually client facing for final amendments
and approval.
Multipass renders from VRay. Rebuild of those
passes and grades to match clients chocolate look.
The packshot had to be clean and match client
references. Extra sparkles added and animated for
the chocolate break.
Chris Forrester – Senior Compositor
http://www.chrisforrester.limited +44 [0] 7719962291 [email protected]
Compositing Showreel Breakdown
Created from scratch using photographs and stock
imagery. Layers placed onto 3D cards/planes, the
camera pulls back to reveal the entire scene. DOF
animated to create a focus pull.
The bathroom sequence has had a 3D camera
solved for it. This was used in numerous ways, the
shot required some clean up, along the floor and
marker removal. I modelled some proxy geo for the
toilet basin and the bleach caddy. This geo was
used to project dirt and grime onto the clean
surfaces. The track was calculated on the original
footage which was later retimed for a more
dynamic move into the toilet basin. Custom
expressions in nuke allowed me to retime the shot
and on the fly the solved camera adjust to match,
meaning I only had to scanline render what was
required and able to output this camera back to 3D
department.
We move in through the bleach caddy into the
germs world. The next 7 seconds of footage I
composited using multi pass renders. Much time
was spent on the individual germs manipulating the
passes in various sections (using rendered ID
passes) to get the look we were after. All shots
required some atmosphere to be added, this was in
the form of grading, or misty patches being added
along with DOF. Extra lighting was added as well as
some flares to help with transitions between shots
Tropicana commercial, compositing elements
rendered using VRay. Working with in the confines
of an older nuke script and look that the client was
happy with. I was taking new renders from a fresh
3D setup and aiming for the same look. The script
required a lot of clean up as it was introducing a lot
of grey fringing (from breaking premultiplication
rules mostly). Once these were all found and dealt
with, the edges were really starting to sit as you
would expect and producing a nice composite.
Various masks and ID passes were required to cut
and place elements in the correct order so that it
looked like the oranges were really squeezing into
the bottle.
There was a mixture of live action and CG being
mixed at different points to make the transition
work correctly and seamlessly. The live action had
some clean up, time restricted us on what we were
able to do. Importantly the colours of the label and
bottle were isolated and corrected to the client’s
references.
Chris Forrester – Senior Compositor
http://www.chrisforrester.limited +44 [0] 7719962291 [email protected]
Compositing Showreel Breakdown
Background composited into the shot, and a lot of
clean up was done to the bottle label. It needed to
look as if it was perfectly wrapped around the top
of the bottle with no seam showing and no scuffs.
The shot had some transforms made to it so the
move towards camera looked smoother and more
central of screen.
The sequence of Nokia phones shows at the time a
model that was not for resale yet. These were
renders to show off the phone when it was to be
released. Multipass compositing using VRay
renders. The client had a particular look for the
screen reflections, that being it had a sharp contrast
from light to a darker edge. Screen content created
in After Effects and composited into place using a
UV pass. Colour changes of the phones case were
made within the Nuke script mainly by adjusting the
diffuse pass.
This shot shows time frozen. Because of the
camera shutter speed certain items within the
frame were flickering, noticeably the orange lights
in the background. Anything flickering needed to
be static, the plate also had some clean up. The
water spilling from the glass and floating playing
cards were generated in 3D and composited into
the scene.
Chris Forrester – Senior Compositor
http://www.chrisforrester.limited +44 [0] 7719962291 [email protected]
Compositing Showreel Breakdown
I had a few days on this shot but was not able to
see it to the end due to prior personal
commitments. During my time working on the shot
I had brought in the matte painting and the geo
associated with it and started to setup the
projection cameras for various areas that required
extra lighting. The window above them and the
light on the bedding are examples of this. The
characters had been rendered minus their hair so I
could get to work doing a rebuild and setting up all
the IDs, allowing me to start adjusting their colours.
Built up from stock footage, the shot was camera
tracked and had After Effects assets placed with in
the solved environment. A look was created to
match the Modern Warfare game colours.
This shot required 3D tracking to build a wall that
did not exist, it also assisted with marker removal.
The germ monster was a mixture of a solid render,
and many particle render passes. These were
heavily manipulated to get the look we see here.
My job was to smooth out the movement of the
live action footage that was shot using a motion
controlled rig. The rig had introduced some judder
as well as working against the movement of the
talent holding the bottle. The final clip moved right
above the glass looking down on its circular top, the
entire movement needed to be timed out and feel
seamless. The footage also lacked that feeling of
being back lit when compared to the pack shot, the
labels were not on brand. These elements all
required isolating and grading to bring them
towards the clients reference. It should be noted
the bottle was shot against black, so I had to
rotoscope the entire sequence to achieve a nice
consistent edge.
Chris Forrester – Senior Compositor
http://www.chrisforrester.limited +44 [0] 7719962291 [email protected]
Compositing Showreel Breakdown
Screen content created from photographs I took of
the real menus and each menu has been animated
using those assets. Some roto work required and
animated focus change.
These three shots required animated skies with
lightning flashes. The sea was built up from various
cg passes and graded, in the last two shots we have
some live action waves/splashes that were
integrated with the CG. The splash wave I pushed
the grade to show a foamier, white edge. The 2D
characters on the ship all required there drawn
tone passes to be composited and graded to match
the brand colours.
Mouth has been adjusted to match the singing
dialog, this also involved repairing the now visible
waves that could not be seen before.
Composited with the use of Nukes 3D space,
various geometry brought in and animated textures
to be projected. Trees, bushes, and the animated
characters placed within the 3D environment. The
transition from dark gloomy scene to sunny happy
animated inside of Nuke.
Various elements of the stop motion were cleaned
up, the scene outside of the window is a CG pass
which required inserting and light effects added.
There were some practical effects shot that allowed
me to add some smoke/haze within the cooker
area.
Chris Forrester – Senior Compositor
http://www.chrisforrester.limited +44 [0] 7719962291 [email protected]
Compositing Showreel Breakdown
Mostly roto work to isolate the individual shoes as
they were animated in isolation to be comped
together during post. Some required cleanup.
Attention to detail was required in isolating the
shoes as a shape and the shadows cast by them, as
the shadow roto’s would be used to darken the
ground plane.
The dolls were brought to life by puppeteers, which
required removing from the shot. The majority of
the shot required roto work which was sped up
with various tracks being attached to rotoshapes. A
clean background was placed in and some of the
window sill was fixed.
This shot also had puppeteers moving each
animated element. Each object required isolating
by rotoscoping, and some cleanup when poles, or
hands covered the toy. Although the camera was
static during the many takes the rug and other
stationary elements got moved about, a clean plate
had to be built that worked for the final shot. This
involved borrowing from different takes, and
adding shadows not from the footage but as a
grade on the clean plate.
This shot required extensive clean up, the rigs took
up almost half of the frame. It became clear quickly
that painting out the rigs was not going to work
very well as soft shadows were constantly moving
around on the background. To add to the
complication it required being shot as 3 takes. The
background with the tomatoes, then the brush
sweeping up the carrot flakes, and the main
element of the grater and carrot. For the best
result I rotoscoped the entire stop motion, and the
outline of the shadows cast on the floor to recreate
the shot. I was able to borrow some of the
background plate as a long soft mask along the top,
which helped with the green foliage of the carrot
top.
I was involved with the shooting of this film, and
assisting with the technical requirements for
shooting stop motion. I also was compositing the
final piece, this involved some 3D camera tracking
to insert the flash animation elements, and clean-
up of the stop motion. I also had a hand in
animating some of the secondary objects with in
the shot.
Chris Forrester – Senior Compositor
http://www.chrisforrester.limited +44 [0] 7719962291 [email protected]
Compositing Showreel Breakdown
I was asked to replace the content of the monitors
and make some of the lights flash on. I was brought
on board after some failed attempts to camera
track the shot to do the replacements. Due to only
having a short time to complete the shot I opted for
a 2D fix. The shot was tracked, I used mocha pro,
and some point tracks. The new artwork was
inserted. Some rotoscoping was required to
complete the shot and it was delivered on time to
make the edit for final delivery.
I was involved with many of the shots for this film,
we were replacing the skies with timelapsed skies
that had been treated to echo/smear but keep this
feeling of instances being overlaid on top of each
other. The road and edge was cleaned up, and the
car required some rotoscopng. The second one
required a difficult sky replacement as the
background was heavily motion blurred and over
bright. Elements of the tree branches required
painting back in and edges smeared outwards to
compensate for the white edges that you often
encounter with this type of work.
CG passes composited to match the look that was
client approved, the 2D animation was composited
together using there tone pass mattes to give more
form and interaction with in the CG environment.
The R.I.P. card was inserted during postproduction
and was manually place to match the animation
reference. The explosion particles were rendered
as an element that we could use with in the comp
and matched previous adverts.
Chris Forrester – Senior Compositor
http://www.chrisforrester.limited +44 [0] 7719962291 [email protected]
Compositing Showreel Breakdown
Ironman viral video, I was involved with many areas
of these videos. I was render wrangling, animating,
and lighting some shots with in the 3D area of the
film. For composite I was removing the lady that
Ironman was standing in place of, and compositing
the CG renders. Each film was about 30seconds
long and we had three of them. This was a clip
from the dirty dancing film.
Game trailer for ‘Ride To Hell’, entirely cg rendered
and composited with multipass renders. Attention
to detail was required for the grades, and adding of
lights/glows/atmosphere within the shots. Most
shots required a little clean up where 3D geometry
was popping or not acting how it should have. A lot
of work went into making it feel fairly realistic and
that the individual renders all sat together
seamlessly in each shot.
The shot was retimed to have a fast, frantic feel to
it. The skies needed replacing from a lighter clear
sky to this darker gloomy sky. The shot was heavily
styled with its grade, and the soft focus around the
edge. This is just one shot from the many that I
worked on that required similar treatment.
Chris Forrester – Senior Compositor
http://www.chrisforrester.limited +44 [0] 7719962291 [email protected]
Compositing Showreel Breakdown
A shot from my work on the feature film ‘The
Sweeney’. Various screen replacements and green
screen work required. Commercial speed
turnaround at feature film level, this was quite
intense work. Some 50+ shots completed within 20
days. I created a gizmo that allowed me to easily
change the content of the screens once tracked into
place, I had the option of daylight/evening versions
for each image. These were also made to look like
bad CCTV footage which could be animated so the
image might look to roll or flicker. The other half of
my workload consisted of interior car shots that
required background plates to be selected and
composited into place. All shots were filmed to
have elements heavily out of focus which made any
keying a little trickier.
This is a clip of the work as it was presented on the
street. My part was to isolate some of the
characters that were shot on green screen and
composite them onto the seats. Shadows were
either extracted or faked, and a reference grade
was used to match our shots to.
Music video that required extensive keying, detail
kept around his head and within the bow. A
background template had been created that I
placed to match the camera and added various
atmosphere elements and light rays to be
consistent with the rest of the video.
Havey use of Nukes 3D environment used in this
clip. The landscape, trees and clouds as well as the
people and the heart all positioned with in Nuke.
The heart was lit and shaded with in Nuke. The
camera move was created with in Maya by the 3D
artist who did the plane and the banner.
Chris Forrester – Senior Compositor
http://www.chrisforrester.limited +44 [0] 7719962291 [email protected]
Compositing Showreel Breakdown
CG elements created within Houdini and rendered
out as multi pass elements. The shot was
composited and the wispy elements were
exaggerated to feel softer. The look was to match
the product which you see in the following shot.
I modelled, animated, and lit the CG ball. The
bunny had his tones composited and integrated
into the shot.
More animation and lighting of the CG ball. The
shot with the sun shining between the branches
was lit completely in post.
The background plate required some clean-up work
and the pack to be replaced. The bee character was
composited to look bright and fun like the
packaging. When he is in the ice cube he has a
different look to breaking out from it at the end
therefore the shot required adjusting during
different sections. The honey pots were built up
from various passes and soft glows inside and larger
halo glows added to client’s request. The product
in the spoon went through many iterations to give
it a sparkling sugar feel and match the supplied
references.