DEMO REEL SHOT BREAKDOWNS

SONIC THE HEDGEHOG
Compositing for MPC Vancouver: Deep compositing of CG elements into live action
plates including using UV Wrapped elements on 3D Geometry, practical and CG
elements as well as pulling green screen keys.

LOST IN SPACE
Compositing for Fuse FX Vancouver: As a subcontracted vendor we were
responsible for all the particle effects integration and tracking for the robots face
shield.

TRANSFORMERS 4 : AGE OF EXTINCTION
Compositing for Method Studios Vancouver: Pulled green screen keys for foreground plates,
fully integrated and projected digital matte paintings and effects with native stereo live action
plates. This required a full understanding of native stereo compositing, color correction, black
level adjustment, rig removal, stereo re-projections, ocula, roto/paint and tracking.

ONCE UPON A TIME
Compositing for Zoic Studios Vancouver: Sequence lead responsible for a compositing teams
completion of assigned tasks. This included attending production meetings to track statuses
of shots and assets through the studios pipelines, giving updates on assigned sequences to
production, mentoring compositors to complete assigned tasks, assigning shots to team
members based on their strengths and weaknesses as well as developing team members
weakness, setting the look for key shots, and comping the more challenging senior level
shots, a lot of virtual set work integration, keying, 2.5 D projections and UV wrapping
animation and unwrapping of elements, integrating animated CG characters, and working
closely with heads and leads of animation, lighting, tracking, and FX to complete sequences
for episodic series.

FAST 6
Compositing for MPC Vancouver: Pulled green screen keys for foreground plates, integrated
practical police car crashes by painting out air cannons and crews and then integrating live
action practical effects with live action background plates. Comped in car chase green screen
foreground plates with window projection backgrounds. Painted out stunt wires as well as set
lighting from behind trees. This required a full understanding of green screen compositing,
projections, color correction, black level adjustment, rig removal, roto/paint, tracking as well
as retiming plates and removing retime artifacts.

MAN OF TAI CHI
Compositing for Base FX Beijing: Wire and harness removal and painting back in BG for fight
sequences as well as tracking in screen replacements for monitors.

PACIFIC RIM
Compositing for Base FX Beijing: Rig removal for live action plates.

IDENTITY THIEF
Compositing for Base FX Beijing: Fully integrated a CG snake, spark effects and flames into
live action plates and a performed a face morph. This required a full understanding of
compositing, color correction, black level adjustment, roto/paint, tracking, 3D to 2D
reconciliation and morphing using spline warps.

THE AMAZING SPIDERMAN
Compositing for Sony Imageworks Albequerque: Pulled green screen keys, for shattering
glass, fully integrated CG characters into all CG environments or live action plates, added CG
webs, and effects into live action native stereo plates which required a full understanding of
color correction, black level adjustment, rig removal, roto/paint and tracking as well as
retiming plates and removing retime artifacts.

THOR
Compositing for DD Vancouver: Pulled keys to integrate live action footage into matte painted
background. Became the sole compositor for stereo deliveries to the stereo vendor for the
compositing team for the sequences worked on. Broke out all finale comp scripts to
individual layers to be recomped by the stereo vendors artists using simple merges.

THE GREEN LANTERN
Compositing for Sony Imageworks Culver City: Pulled green screen keys, fully integrated CG
characters, performed body replacement with animated CG digi-doubles and effects into live
action plates which required a full understanding of color correction, black level adjustment,
rig removal, roto/paint and tracking. Look developed and implemented looks for energy
constructs for jets and fist. Was responsible for look of disintegrating jet energy constructs for
final battle sequence.

KNIGHT AND DAY
Compositing for SoHo VFX Culver City: Keyed out difficult foreground green screens to
preserve fine details in hair, used solved cameras to project windshield elements to create a
windshield where there was none, added muzzle flashes and integrated background plates
with live action plates.

JONAH HEX
Compositing for SoHo VFX Culver City: Removed buildings, power lines and cars from
practical plates to create a civil war period feel, enhanced pyrotechnics to create a moving
explosion through a railcar.

IRONMAN 2
Compositing for Pixomondo Santa Monica: clean plated the background in order to replace
RDJ’s practical suit from the neck down with a fully integrated and animated cg suit.

A NIGHTMARE ON ELM STREET
Compositing for Pixomondo Santa Monica: Keyed Freddy Kruger from green screen,
conformed three plates according to editorial’s cut for the timing of the reflection in the mirror
and plate prep work to hand off to the senior compositor for the shot.

THE LAST AIRBENDER
Compositing: Keyed foreground actor from a difficult practical plate and integrated practical
snow and CG ice chips and rain as well as animated matte painted cracks, and noise
generated beams to create BG environments to comp the practical foregrounds into.
Plate Prep/Roto/Paint: Performed plate prep roto/paint/keys and matte painting integration
for the two water shots.

PERCY JACKSON AND THE OLYMPIANS: THE LIGHTNING THIEF
Compositing for Pixomondo Venice: placed all smoke fireball and flame elements using Nukes
2.5 D system by projecting elements onto cards and geometry in 3D space, animated
interactive lighting on chasm walls by animating a noise pattern and projecting it on geometry,
animated a matte painted sky and projected clouds in 3D space, integrated boat wake and
backgrounds with live action plates integrated The MPC CG characters with live action
footage and replaced Percy’s practical sword with a CG sword.

ALVIN AND THE CHIPMUNKS 2: THE SQUEAKQUEL
BG Prep (Roto/Paint/Rig removal) for Rhythm and Hues LA: painted out wires, removed rigs,
prepped green screen shots, rotoscoped elements, conformed plates for seamless camera
move merging interior and exterior limo plates.

LAND OF THE LOST
BG Prep (Roto/Paint/Rig removal) for Rhythm and Hues LA: painted out wires,
removed rigs, prepped green screen shots, rotoscoped elements, removed cstands
left in shots, created clean plates, removed practical sleestacks and fixed
practical lighting errors.

CORALINE
Compositing for LAIKA Portland: replaced practical bulbs with practical flame
elements and integrated them into the shots, comped in practical steam and
created CG tracked in steam and integrated the steam elements into the shots,
removed stop motion rigs and all seams on puppet’s faces using Furnace’s wire
removal tools and other 2D techniques.

Roto/Paint for LAIKA Portland: removed face seams from all shots assigned as well
as rotoscoped any elements senior compositors requested.