Fuze Tea “This Meets That” was directed by Smith & Foulkes. The section I was responsible for compositing is from 25 to 35 seconds in the video clip above. This is the undersea section switching to the space environment with the spaceman hopping across planets. The majority of the animation was done in Adobe Flash (not done by myself) and exported via a script into many swf files, each representing a single layer from Flash’s timeline. This gave us plenty of control for coloring each element and adjusting how the blends work on overlapping pieces. This section was laid out in After Effects 3D enviroment which helped to give plenty of depth to the shot.
Steam London created this music video for international renown violinist David Garrett. He performs Coldplays Viva La Vida, playing multiple parts at once. My part in the creation of the video was a small selection of shots. David Garrett was filmed in front of a green screen multiple times and was to be composited on to digital backgrounds. I was producing keys and color grades of this footage and placing him on to the template background sequence. The backgrounds required re-timing and re-positioning of the basic assets and then it was left to me to choose extra details like dust and smoke to add to the shot as I saw fitting.
My attention to detail in the keying can be seen in the video below. I was able to keep a lot of hair detail, and details in motion blurred areas ( the violin bow in particular) that in other shots of the video were lacking. I had two days to complete all the shots delivered to me and in every shot I pushed the keys to the limit to gain the best composite possible. The video below represents half the work I did, the shots tinted red were not my shots.
The next video is a copy of the enitre music video finished.
David Sayeed of Animated People arranged for me to interview with a company who deal mostly with computer game motion graphics. My previous work has not really been in that area so to sweeten the interview we decided I would mock up a Modern Warfare 3 style video clip. The clip was used to demonstrate my wide range of skills in After Effects and SynthEyes, I set out to demonstrate that I understood the look and feel for their work and to show my technical knowledge and work methods that allow for swift changes to be made and for shots to be re purposed quickly. The company was very pleased with the extra effort put in, they understood that the framework for the project had been put in place and that with more design time I could easily produce the work they would require.
The video below is a presentation of some of the steps involved in creating the above piece. Please view it in full screen mode for best results.
I also created a pdf document which outlines the important steps I took in creating this clip, you can view it here
You can read a little about the album here
This project was a little outside of Airsides comfort zone in that it was a full live action music video, wanting this piece to be great they brought on board a lot of talent who were very adapt in this area. Directing the piece was Tim Bricknell, and DOP was Carlos De Carvalho who has a long list of feature film work under his belt. I was brought in to head the compositing and 3d work, this involved a mixture of camera tracking, set building in 3d, and a fair amount of keying/rotoscoping. We had a small team of 4 working on the many shots, this video had a fairly quick turnaround and after seeing all the care and attention that had gone into the filming we did not want to compromise on the post production. I had trained an assistant to do some rotoscoping and guided her through her shots. Alasdair Brotherston was a pro and really helped us out in the last week to get the final long shots out.
During the start of the project it was just myself. I was going through each shot preparing the tracks and match moves so that they were ready for background artwork and keying. Once Everything had been setup I started to work on all the keying to a finished standard and adding extra touches to some of the shots, these included a snow storm and some squirting blood. The opening and closing shots were started by Simon Goodchild using Maya, I supplied the match moves and rough geometry in place for him to build the set around. After he finished we had to adjusted the closing shot to pull out from the crowd shot into the gallery as if it were the picture frame. This involved me setting up the camera move in Maya and then exporting it back into after Effects for me to build the crowd scene, this had some extra problems as the shot with the kiss was filmed with a pull out so it first had to be stabilized and then implement it as a 3d plane. The original picture frames were remodeled and a mixture of bump maps and displacement mapping was used to add the detail. I used high res photographs of the frames as the base for my textures, this really helped to add detail and form to the main picture frame that we move through.
Airside also commissioned a making of video for Flashman which can be viewed on Vimeo