Compositing – The Insomniac’s Greenscreen
Hot off the heels of a snow-fueled film shoot in Whistler and a whirlwind tour of Alberta, I’ve had a chance finally to sit back and review some of my recent handiwork, and I must say that for something that was quite literally completed in the eleventh hour this turned out alright.
Everything wider than the actor’s collar didn’t even fit on the greenscreen, so his body had to be rotoscoped out from the background. Additionally, since parts of the actor’s wardrobe were either green or teal, they too had to be tracked and roto’d. The pom-pom on his toque was replaced with a digital double that I animated by hand to give it a little more ‘bounce’ and add more action to the shot.
Looking back, the time constraints and lack of sleep took its toll on my ‘compositor’s eye’, but I can’t help but be happy with the result, and the way the shots served the greater flow and intensity of the story. I suppose that, in order to attain the greatest possible viewing experience, it is recommended that you go for 16 hours without sleep. Think of it as being like 3d glasses, except instead of the illusion of depth, the audience is graced with the illusion of fidelity?