ELGIN Ibrahim

1. The first shot presented several challenges and involved multiple areas of expertise.

Matchmove
The matchmove was completed in 3D Equalizer using photogrammetry that I captured on set.

Lighting
The Lighting was created in Houdini Karma Solaris using USD, and I also used light bracketing captured on set to ensure realistic lighting.

Compositing
For the Compositing, I worked in NukeX with the goal of recreating a lighting atmosphere different from the one on set, while integrating the CG element seamlessly into the practical smoke filmed during the shoot.

1. The second shot is combining MatchMove, Lighting, Keying, and Compositing.

MatchMove
A helmet was used on the actress to track her head movement and speed up animation. However, the dinosaur’s head was misaligned, making the neck movement unnatural. We later corrected this by redoing the animation using the dinosaur’s Match Move as the motion reference.

Lighting
Using Houdini, the goal of the lighting for the secretary was first to match the live-action plate to avoid any lighting inconsistencies, but also to create a subtle, pleasant effect that reflects a typical office environment. The idea was to establish a distinct atmosphere for the secretary, making it feel like a believable workspace through the lighting.

Compositing
I then completed the keying and compositing of the shot, integrating the actress’s body into the CG environment, followed by the dinosaur’s head on top. I also fixed the glasses, which had rendering issues, by fully recreating them using combined Lens Dirts and patching them onto the CG via the Pref.

1. The third shot is a collaborative project, aimed at recreating a shot from _Dune_. I mainly handled the

Compositing
I mainly handled the compositing and integrated 2D smoke plates to add texture and atmosphere to the environment. I then worked on the overall mood of the image, applying a subtle “grime” effect through color grading, grain, and lens distortion to enhance the shot’s atmosphere.

1. Simple integration of bubbles and color grading to create a dramatic atmosphere.

Compositing
For the fourth shot, I integrated bubbles from a 2D plate, retimed and animated them using Grid Warp and kronos, and then adjusted them with color grading.

1. Compositing of Cg elements, matchmove, lighting, set extention and integration of 2D smoke plate

Procedural Modeling

For the procedural modeling of the pipes, I used Houdini. This approach allowed me to save time later on, as the tool adapts to any corridor shape based on the on-set needs.

Photogrammetry and Reference Gathering

On set, I performed photogrammetry using my camera and iPhone. I also took reference photos of the corridor walls, which allowed me to patch textures onto the photogrammetry model and correct any irregularities.

Matchmoving

I then used 3D Equalizer to perform the matchmove, relying on the photogrammetry to achieve perfect tracking. Since the CG element was very close to the camera and interacted with the actors, precise tracking was crucial to avoid any sliding.

Lighting
Using Houdini, the goal was to perfectly match the lighting from the set. Since the CG elements and the actors are very close to the camera, no inconsistencies were allowed, as they would be immediately noticeable. However, the lighting still needed to create a tense and unsettling atmosphere, immersing the viewer in a sense of stress and uncertainty.

Compositing and Set Extension

Finally, I used NukeX integrate everything in 3D directly within the software. This gave me precise control over scale and placement, ensuring that the set extension was seamless.

1. Compositing of Cg elements, matchmove, lighting, set extention and integration of 2D smoke plate, Look Dev

Matchmove
The matchmove was made in 3D Equalizer, using the photogrammetry captured on set.

Lighting
Using Houdini, the goal was to perfectly match the lighting from the set. Since the CG elements and the actors are very close to the camera, no inconsistencies were allowed, as they would be immediately noticeable. However, the lighting still needed to create a tense and unsettling atmosphere, immersing the viewer in a sense of stress and uncertainty.

Compositing

Next, I brought the shot into NukeX to integrate all the elements, perform color grading, and handle the look development of the dinosaur, which appeared too gray in the initial render. I carried out advanced look development on the dinosaur to give it a terrifying, dirty, and dark appearance.

I also worked on the overall look of the image, creating a mysterious and dramatic atmosphere by integrating smoke using depth information to suggest that the corridor is filled with haze, making it appear as though the dinosaur emerges from the smoke.

Finally, I animated the smoke originally from 2D plates using Grid Warp to add subtle movement in sync with the dinosaur, bringing life to the smoke and reducing the flatness of the 2D plates.