STAR TREK INTO DARKNESS - at Atomic Fiction

For this show I was tasked with working on the Enterprise engine room sequence and on the aftermath
of London terrorist attack shot. My responsibilities for this show were concept designing, laying out, look
developing and lighting 3D elements and then creating digital matte extension passes in some cases for
compositing to plate elements. I also worked on adjusting match moved cameras in order to create better
compositions of the shots.
First Enterprise Engine room shot
This shot was the first one in the Enterprise engine room sequence. It is also the only shot that had plate elements of the Budweiser
factory. So this shot became the key shot that set the tone for the rest of the sequence. My original assignment was to help layout set
extensions for this shot and the rest of the shots in the sequence. Then I created a digital matte painting from the cg extension for the
end of the shot seen in the third image above. Towards the end of post production the director wanted to add futuristic trek elements
in the Budweiser factory plate elements especially in the beginning of the first shot in this sequence. I helped to concept design the
futuristic balcony and other elements seen in the first two images above in order to better tie in this sequence with the previous one.
(to see the original plate please hover over the images above)
MY PROJECTS
CG Generalist / Matte Painter / Environment Artist

The aftermath of London terrorist attack shot
This shot was quite unique in a sense that the foreground elements were originally shot as a live plate with the blue screen behind
them. Then in order to get the effect of zooming in and rotating on a still frame all the debris, ground and people had to be separated
and then projected onto a cg elements and rendered with a new camera. My responsibility was to separate and project the ground and
all the debris separately and then create digital matte paintings based of them. The most tricky part was to make sure to maintain the
high resolution quality of the elements as the camera zooms into the shot. In order to achieve that I created multiple projections of the
ground that came from more closer zoomed in elements from the original source plate. As the shot camera zoomed in it captured
projections from those zoomed in cameras and thus retained the high resolution needed for the shot. I also painted in set extensions
that became the mid ground between the reprojected plate elements and the back ground matte painting. Lastly I assisted in creating
and laying out assets seen in the back ground matte paintings.