1.The Aurora borealis were first simulated with Houdini and presented as long ribbons floating in the sky. After that, the simulated geometry was sent to our Nuke artists where they added the colors and comped them back into the plates.
2.The magic inside the book seals was created using the Nuke planar tracker, some roto, fractal noise, color corrections and glow. It really boiled down to varying the speed of the noise to be subtle but still alive and to sell it as a light source.
3.Our compositing team, aided in the turbulent nature of this effect by dynamically animating 2D ‘murky particles’ inside Nuke.
4.Finally our comp team finished the look, generating Nuke particles in order to add more complexity and detail.
5.We had tools in Nuke that allowed us to populate the airport with smoke and other damage that again could be tweaked per shot
6.Nuke where we were able to quickly position lights within an hdr latlong and it would in real-time show the lighter the placement of the light on Colossus.
7.We also worked on 2.5D digital matte paintings in the Athens environment and throughout the film. We created the DMP elements in Photoshop and Maya, which were then assembled in 3D space in Nuke
8.After deciding a geographic location to base the test, we built a loose projection system in Nuke. Using black-and-white photographs
9.We used Nuke very effectively on these shots as it allowed us to generate unwrapped texture maps which made paint touch ups to the live action – and small adjustments to the CG – much easier and quicker.
10.We then used Nuke to generate texture maps which were projected and manipulated to form the shape and look of the doe
11.we used a Pcolor pass from XSI , which basically is an RGB image that’s a remap of the vectorial position of every pixel, it basically remaps the XYZ values of every pixel into RGB values. We built a custom tool in Nuke, that allowed us to easily and accurately extract all the mattes and depth information using this pass and it worked seamlessly in a stereoscopic context.
12.Each artist can publish elements to be included in the final shot, and the compositors receive notifications of new elements to include which they can automatically bring into their Nuke scripts.
13.The biggest challenge on the show was keeping the fine edge detail of the FG plates while compositing them onto bright-to-blown-out backgrounds. We also had to balance the window reflections to always give a sense that the glass surface was present.
14.we used extensive ray tracing and the Frischluft defocus tools for Nuke.
15.The droplets in the frozen time section were made using Nuke’s new particle system which gave us enormous creative control and quick turn around.
16.compositors added a lot of dripping blood and splatter to the shots inside Nukes 3D space.
17.Our 2D supervisor, wrote a Nuke tool that would sample pixels from either side of a cut line on a frame by frame basis and then use an average colour to patch over it. Artists could define the area that Nuke tool sampled from with roto shapes, giving them a precise control over the end result
18.The veins and her face were projected on to a geometry .obj sequence that was fed into Nuke.
19.the snow was created with Nuke’s particle system. The challenge was to have the right timing from beginning to end. The Nuke’s particle system was fast and easy to play with. We rendered different depths and textures of snow
20.But we found the Genarts were a bit unstable in Nuke
21.We used the Nuke curve tool linked by expressions to grade nodes. This helped to match the flickering luminosity of the shots
22.The balcony railings were textured and rendered as 3D objects in Nuke.
23. We also dimensionalized the wheat field footage and re-created the moving wheat in Nuke.
24.It’s some high res public domain satellite photos of Earth wrapped onto a sphere in Nuke
25.That meteor element was made completely in Nuke, and was a long thin strip of noise texture, stretched, smeared and moved about to look (hopefully) like an incandescent lump of something extraterrestrial. We also added a few sprinkles of Maya particles at the last minute, but it’s mostly the Nuke textures
26.creating 360 degree Cyclos with low res geo, using Maya and Nuke.
27.The approach was 2.5d solution. We created a CG model of the car, using reference photos. The DMP images of bullet holes and crack glass, was projected using Nuke
28.We created a Gizmo for Nuke which allowed the Compositor to choose a Material Type from a pull-down menu (concrete, wood splinters, carpet fibers, etc.), then attach the 3d camera, set the frame timing… and you’d have the animating debris emission. Any event close to camera was created per shot by our CG Animators.
29.The star field was created using an in-house Nuke plugin based on a real NASA dataset of the night sky
30.We match moved the car in the preferred take – and textured it with the footage of the usable take. Oliver Hohn did all of that in Nuke’s 3D space to have more control over framing as well as timing
31.That texture map was projected on a sky dome in Nuke.
32.A proprietary software tool written in Nuke managed the footage and allowed for easy replication of crowds with specific characteristics
1.we started developing a fully procedural lens flare system using raw Nuke nodes, really just an exotic combination of Convolves, Blurs, Transforms and Vector warps. The look was developed and tuned using a black frame with a tiny super bright circle, but done in such a way that any pixel in the frame will contribute the same way
2.One of Us developed a tool within Nuke to populate a large areas with specifically shot crowd elements, helping to fill out big expansive shots
3.Piper was heavily influenced by macro photography and originally the team was going to use Depth of Field in Nuke with a Deep Compositing
4.For the exterior they also wrote a Nuke gizmo with some AI to provide independently animated traffic. "If you look closely, you can see some New York taxis almost crash into some other cars, which I guess kept it pretty real
5.They had lens flares shot on set and these were matched using the standard tools in Nuke,
6.we would set up a two-and-a-half-D NUKE crowd pipeline system, where you put each person on a card and you populate the stadium with them.
7.we used NUKE’s Particle System to add layers of crud, which brought life and depth to sell the underwater feeling