POLICE STATE

VFX shot. Shot on the streets of New York with a Nikon D5200 and P&C PR-1 shoulder rig. Two HDRIs captured on site - one from the camera position, and one from the street at the back of the shot. HDRIs stitched in PTGui. Motion tracking and modeling in Blender. CG rendering in Blender Cycles. Camera flares using the GLFlares addon. Composited in Nuke, finished in DaVinci Resolve. The entire project followed a scene-referred workflow.

For more detailed background on the project, be sure to check out my blog.

Many thanks to Troy Sobotka for his incredible guidance on scene-referred workflow and for creating a custom color transform for my footage.
Additional thanks to Andreas Russo for bringing this to life with his amazing contribution as sound designer. 


BEHIND THE SCENES

Motion Tracking (Blender)

Motion tracking heavily blurred footage by hand.


Modeling & Rigging (Blender)

Building simple motion-tracked geometry in Blender for later reflection passes in Nuke.

Baking environmental proximity lighting from the HDRIs in Blender.

"Sentinel" - completed rig.

"Drone" - completed rig.

Shading (Substance Painter)

Starting to block out colors in Substance Painter. Only unique geometry has been imported.

Finishing up texture work on the "Sentinel". Again, only unique geometry has been imported for texturing to save time.

Testing the look against a stock HDRI with Substance Painter's internal renderer iRay.


Compositing (Nuke & Blender)

Setting up the initial blocking with simple motion-tracked geometry and a simple node network.

Starting to rotoscope in the fence over CG elements.

Photoshop paint overs on non-textured model geometry used to test different looks within the composite.

Generating camera flares back in Blender for later compositing in Nuke.

Annotated Final Nuke Node Network (Click to zoom in)


Finishing (DaVinci Resolve)

Sky adjustment.

Final grade using a custom Photoshop LUT.