A small compositing project I recently completed for a team of Albertan filmmakers:

The production was in need of some last-minute cleanup on a scene which they had shot against a greenscreen backdrop. The sequence involved the actors piling up sandbags in the desert as an ominous storm brewed in the background.
Below: A side-by-side comparison of the original footage, the initial composite the filmmakers had achieved, and my final cleaned-up composite.
The greenscreen plates were shot on RED and supplied as 4K Prores 4444 clips. Compositing was performed in Nuke, with some common background elements assembled and pre-rendered at 6K from After Effects.
Before and after comparison:
Background assets, including footage of overcast skies, were supplied by the filmmakers. My job was to re-key the shots and re-integrate them with the background plates.
Background elements were graded and comped with animated mist to give the scene a post-thunderstorm haze. Sky footage, which had been shot from a very low angle, was augmented and extended to introduce correct perspective lines for the shots I was working on. Artificial film grain was added to the entire background to match that of the greenscreen plates.
While the shots were relatively easy to key, the job was complicated somewhat by a heavily-creased greenscreen backdrop which seemed to be flapping in the breeze. Additionally, a shallow depth-of-field in the shots necessitated some roto work in order to negotiate consistent matte edge quality between hard, fine foreground detail and soft, obscured background edges.
Below: Original footage. This shot had a camera move with no tracking markers, a pull-focus, and both fine detail (in the actress’ hair) and soft edges (around the out-of-focus background characters).
Final composite:
Yay! Greenscreen!
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