Jaye Krebs

Shot Breakdown

Shot 1 - The Mist - Jumping Spider 01
-remove tracking markers
-integrate 3D spider (10-15 layers/adjust, colour correct, etc)
-add motion blur
-fake volumetric shadows
-minor roto

Shot 2 - The Mist - Creature in Market
-integrate 3D creature (10-15 layers)
-integrate shadows/ reflections
-track in blood drops using 3D camera data
-minor roto (shelves/various items)
-integrate props (cans)

Shot 3 - The Mist - Jumping Spider 02
-same basic duties as shot 01
-add muzzle flash
-add practical elements (blood spatter)

Shot 4 - The Mist - Storefront
-remove lighting rigs/softboxes/BG clutter
-integrate 3D creature (8-10 layers each)

Shot 5 - The Mist - Man in Mist
note: not filmed as FX shot
-integrate 3D spiders
-remove softboxes in BG as well as reflections in cars
-roto out car/replace BG/add car back in /animate bounce to coincide with landing spider
-animate attack/remove character at tail of shot
-add practical spatters

Shot 5 - The Mist - Supermarket
-integrate creature
-add practical fire
-add interactive lighting on shelves

Shot 6 - The Mist - Dragging Man
-various roto
-integrate spider
-remove tracking markers

Shot 07 - Red Cliff
-integrate fleet
-ships (up to 12 layers per ship)
-oars (main/reflection/refraction)
-oar foam (3D sfx)
-bow wake (3D sfx)
-soldiers
-shoreline (mapped to sphere in Fusion 3D space)
-minor roto (dock/crew)

Shot 08 - Red Cliff
-add 3D water
-add bow wake (3d sfx)
-add caustics to ship bow
-roto (dock/crew)
-integrate BG ships and shore

Shot 09 - Red Cliff
-(tail end of shot 7)

Shot 10 - Red Cliff
-crew/rig removal
-BG replacement

Shot 11 - Red Cliff
-remove rig/crew in BG
-integrate CG soldiers/shields/flags
-integrate Massive horses
-add CG dust/footfalls
-add practical dust elements

Shot 12 - Nim’s Island
-integrate CG elements
-fake reflection
-track/add practical splash

Shot 12 / 13 - Nim’s Island
-more of the same

Shot 14 - Around the World in Fifty Years
(in progress)
-as compositor, I develop an ambience to the entire sequence, fine tuning the lighting and atmosphere.
-all shots are stereoscopic, therefore blurs, glows, and other effects must be treated with care, in order not to skew the three-dimensionality of the shot.

Shots 15 - 21 - Battlestar Galactica
-I worked on BSG for the first three seasons and, as the company was fairly small to begin with, my duties as a compositor were many and varied. CG integration, roto, tracking, greenscreen, bluescreen, rig removal, etc., etc. As well, in season one, I also did some modeling (Maya) and texturing (Photoshop).

Shot 22 - Air Buddies
-the bloodhound character was originally slated for full 3D treatment, but the dynamic simulation of the motion/secondary motion of the character’s skin turned out to be too CPU intensive.

I therefore animated the character in comp, taking footage of the dog against bluescreen and lip synching by manipulating time and cutting/pasting elements from different points in the shot. I then warped aspects of the elements to generate smoother mouth shapes, as well as to generate more emotion in the delivery. The result was a very believable acting job, and the client was more than happy.