Hi there 880!
Below is a selection of work that complements the cover letter and resume for the Sequence Supervisor role.
It includes examples of sequence supervision and Unreal Engine.
War is Over!
The first Academy Award-winning short film made using Unreal Engine. As Compositing supervisor and Unreal artist, I bounced between various DCCs to realise the final style of the short. This required knowledge of not only the compositing workflow but the Unreal Engine render process. Lots of exploration and collaboration with pipeline engineers was needed to generate the required images.
Beyond rendering, I lit shots, modified shaders, droipped in FX, created blueprints for dressing the scene (with spline-based tank tracks, blast craters, and destruction vignettes), dropped in animated sky paintings, and general work making shots look awesome.
A fantastic team project with everyone sharing their knowlwedge and collaborating to created something unique and timeless.
Alita: Battle Angel
I supervised the compositing work on the 3 flashback sequences, including a last minute rework of the battle over Zalem, to create a more visceral, epic battle.
The initial battle sequence presented for final was to low impact for Jim. With most of the crew on holiday already (including the team's VFX supervisor), I was tasked with a last minute rework to create a greater sense of conflict and chaos. Using all the tricks available and a tiny team of artists working efficiently, we turned around the updates in a couple of weeks.
When the updated sequence was reviewed by Jim, the comment was 'now that's a fucking warzone'
Riding Hood
Riding Hood pitch trailers (circa 2020, Unreal Engine 4.6), are tests of hybrid and real-time virtual production using Unreal Engine.
The alley way test was shot during covid lockdown with an environments from Unreal, compositied in Nuke in a tradiational way. Plates were brought in to Unreal to layout the shots, with the particular challenge of integreating plates shot at different times. Slow motion shots involving high frame rate Phantom footage and motion control camera arm added extra wrinkles to the workflow.
The subway test used the LED volume at Dreamscreen Australia, to see how beldning live action set pieces, creature FX and special effects would work for such a production