I did a ton of live action cleanup (Very sad to say we can't show before-and-afters, because clients have policies against showing raw footage.)
I also handled the motion tracking, and working with the Technodolly FBX data. The Technodolly wasn't calibrated correctly however, so in short, I had to hand track most of this, or amend severely broken tracks.
I also did a bit of comping to the CG elements, and placing elements in the scene.
Read my very brief interview on the project here: http://aescripts.com/learn/intel-architect-of-the-future/
I did the majority of the work for this spot, using assets delivered from the studio for Slimer.
I did all of the 3D motion tracking, inserted all of the 3D darts, and animated them. I did some of the lighting and shading on the darts. There was also a lot of cleanup of scratches and marks on the guns, but I suppose you'll have to take my word for it because I don't have the raw footage.
I was the technical director on this spot, start to finish.
I was responsible for:
3D Previs with the director, to decide our shot list. Our shooting schedule was so tight, we shot no coverage, literally just shooting the angles we needed. I also went to the studio in advance, and rebuilt it in 3D. We planned the positions of the camera, and props in Maya, how to do each VFX shot, and how to divide the studio so we could shoot and rebuild sets at the same time.
On set VFX supervision, working under our Art Director.
3D tracking, scene and camera set up.
Rigging and modeling of laugh traps.
I also did a good amount of compositing and roto.
I did the anchor man shot at 43 seconds in, with the CG butt. I also inserted all of the nParticle butts into Times Square in the following shot, and comped in the times square screens. (another studio handled the CG times square buildings and lighting) . I did everything for the following shot with the helicopter, but was provided with a helicopter model and city model. Both of which came fully textured.
For the rest of the spot, I did a bit of keying and helped with the computer's screen replace, but my work was pretty minimal outside of the CG.
I was involved on this one all the way through. I started out making all of the previs with the director, doing two videos. One for how the final spot would look, the other for how we would shoot it on set. I went on set as the Technical Director, placed tracking markers, took measurements, and made sure the lighting and camera were set up so everything would key and track.
In post I handled all of the Maya work, tracking, and all of the clean-up for the green screen composites. There was very little cleanup however. We shot it very carefully because we knew the turnaround time was quick and didn't want to waste time in post when we could be animating. I worked with a team of 5 very talented animators in post.
Update: We were nominated for an Emmy for this spot, did not win.
I was not on set for this one, but managed the post workflow. I managed all of the assets and animation coming in from about a dozen artists, and assigned, distributed, and collected shots to and from the compositors. I handled any final fixes needed to hand off to the editor. I did a good amount of the 3D work, the keying, and a lot of compositing.
Thanks to Cause & [Effect] for having me on.
I was the post Technical Director on this one, but did no animation on this spot at all. I created the system in which you could take any video, and it would be procedurally sweaterized in After Effects to make the final images you see below.
The system shapes any image to fit the cross stitch shape of a sweater. Then we dropped a sweater texture over it, and reduced the frame rate. This simplified the workflow, because rather than creating assets that were shaped with jagged edges, and trying to animate them to fit the pattern, we could just use simple vector images and text, and let the system take care of the rest. It saved us a ton of time, giving us freedom to be creative.
I've done color and animation on tons of Artist to Watch spots, I don't even remember all of them. Here's the page: http://www.mtv.com/artists/collections/artist-to-watch/897377/
This is a video recap of 2014
5 Second Of Summer
We Are The In Crowd
Years & Years
Ty Dolla Sign