Emma Clifton

Showreel 2012Shot Breakdown

ejeclifton@hotmail.com

Project Role Description

Happy Feet 2(Feature Film)

Compositor

Lead Compositor(Underwater sequences)

Software:NUKEFull composite by me.Multilayer/element CG renderpass composite. The jellyfish themselves did not have animated colour nor glow prior to comp. I developed an animated color pulsation (in nuke) for the jellyfish. Lookdev for the final composite was all done by me working closely with the Art Director and lighting sequence lead.

Allens Lollies(TVC)

Compositor Software: Apple ShakeFull composite by me.Compositing multipass (TK shader) bubble candy elements into live action plate.

Australia(Feature Film)

Lead Compositor (with director

in house)

Software: Apple ShakeFull composite by me.Blue Screen key, and bg replacement.This was completed in house with the director as a last minute additional composite addition to the film.

Happy Feet 2(Feature Film)

Compositor

Lead Compositor(Underwater sequences)

Software:NUKEFull composite by me.Multipass fx element CG renderpasses and multipass lighting renders composite. The fx renders and lighting renders didn't match with the concept art and direction the Art Director wanted to push the sequence. Therefore I was brought on board to develop the “look” for the sequence and liase with all the departments to ensure the correct passes were output. The very basic looking fx renders and lighting renders were heavily adjusted in comp to create the required final composite.

Mutant Chronicles(Feature)

Compositor Software: Apple ShakeFull Composite by me.Green screen extraction from Viper camera footage. Colour corrections. Combining multiple 3d passes to create “cavern”, applying colour corrections and lighting effects. Combining all elements to create final composite

Gulaku(TVC)

Compositor Software: Apple ShakeFull composite by me.Compositing multiple multi-pass 3d renders of all individual 3d elements into the scene.Applying animated colour corrections, light treatments and effects and motion blur/depth of field.Adding the green screen live action children elements to the 3d scene. Colour correcting the children's clothing to appear brighter and more vivid and positioning them in such a way that they appear to interact with the 3d.

Volvo(TVC)

Compositor Software: NUKEFull composite by me.Removing the reflections of the lamp post from the bonnet and roof of the car. Also removing the lamp post from immediately behind the car.

Happy Feet 2(Feature Film)

Compositor

Lead Compositor(Underwater sequences)

Software:NUKEFull composite by me.

Multipass CG lighting crowd renders of the krill.These came with little depth and tonal variation within the crowd.

George Miller, the director, wanted these sequences to have NO BLUE nor depth of field as this was “krill world” not human world.

I developed the variation in shadow, depth and colour variations in the crowd renders in order to add interest to the sequences. I worked very closely with the lighting sequence lead developing methods to best tackle these sequences as they were very render intensive and therefore the crowd could not be output at full quality. I therefore implemented allot of comp treatments to the crowd who were lower quality in order to best sell them and integrate them into the shot.

Australia(Feature Film)

Lead Compositor (in

house)

Software: Apple Shake, PhotoshopFull Composite by me.The director Baz Luhrmann was unhappy with the original photo of the child in the live action plate and the I therefore created a new version of the photo in photoshop using elements supplied from another facility. This was tracked into the plate. I painted a “dirt pass” using the original plate as reference. Applying colour corrections to the new photo, reapplying dirt and reapplying the interactive shadow to the plate.

K9 Series 1(TV Series)

Compositor Software: NUKEFull Composite by me.Using a supplied live action source plate and a supplied 2d matte paint still.I tracked the plate, and applied the matte painting where possible. Enhancing the plate with various layers of live action element footage which were combined, colour corrected and applied at various depths to add interest to the shot.Tiny areas of interactive snow were added to the “building” roof in order to create the illusion of wisps or snow being created by the wind.

A Heartbeat Away

(Feature Film)

Compositor Software: NUKEFull Composite by me.

Multilayer composite using green screen and live action bg footage. Changing the name of the stadium, clock time, stars addition, crowd duplication, camera flashes, interactive lighting

Beneath Hill 60(Feature Film)

Compositor Software:Apple ShakeFull composite by me.Crowd duplication of soldiers in trenches. Combining multiple live action platesand elements, matte paintings and 3d elements.

Happy Feet 2(Feature Film)

Compositor

Lead Compositor(Underwater sequences)

Software:NUKEFull composite by me.

Multipass CG lighting crowd renders of the krill.These came with little depth and tonal variation within the crowd.

George Miller, the director, wanted these sequences to have NO BLUE nor depth of field as this was “krill world” not human world.

I developed the variation in shadow, depth and colour variations in the crowd renders in order to add interest to the sequences. I worked very closely with the lighting sequence lead developing methods to best tackle these sequences as they were very render intensive and therefore the crowd could not be output at full quality. I therefore implemented allot of comp treatments to the crowd who were lower quality in order to best sell them and integrate them into the shot.