As usual, you really need to go fullscreen for this one.

Nice little piece we, mainframe VFX, did for Kallo. Shot on Canon EOS 5D mkll. Anyone who tried to key 5d footage knows what a pain in the tit it is. We worked around this by shooting it stop frame. Shit loads of individual raw files put together and it becomes the quickest key ever pulled. It literally took about 20minutes to key well over 700 frames with completely different lighting and shades of blue.

There's some heavy geek-love for you! Breakdown will be done, when time allows.

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Director: Calum Macdiarmid

Lead Compositor. Kalle Peterson

Lead 3D artist. Arvid Niklasson

Match Moving Artist. Liam Chapple

Colorist. Kalle Peterson

Breakdown

A month back or so we, the Mainframe VFX kids, worked with MTV on this commercial for Camden Crawl. This little bad boy was shot on RED with russian anamorphic Lomo lenses. Which means massive lens flare awesomeness! For the first time we worked in a complete linear workflow from start to end, which meant some adjustments of the pipeline. If you're not working in linear yet, get on the train dudes and dudettes!

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Director: Jodi Malam

VFX Supervisor: Arvid Niklasson

Lead Compositor: Kalle Peterson

Rotoscope Artist: Frederikke Glick

Match Moving Artist: Liam Chapple

Me and Arvid Niklasson worked with Unit9 on this little online thingy for Stella Artois. It's one of those nice facebook things, where you log in with your facebook account and pictures of you and your friends get placed in the actual movie. We cleaned up the footage, extracted the reflections from the original paper and put them back in to the alpha channel for it to be possible to just corner pin the pictures underneath the movie and still get all the niceness.

If you want to see it in action, head over to www.stellaartois.com

The site won an FWA, so big up to Unit9 and all the great people who

worked on this project. And The Frame of course.

Worked on this little bad boy a couple of weeks ago at. It's an Ident for the TV-channel Living. It's part of a series we did for Virgin Media Television. You can find the rest of them over at mainframe. It's was a nice little piece with not too much work so I pulled it of by myself in a few days. Tricky part was cleaning up the floor, because of the lighting and no clean plate to work with. But it worked out just fine. And if haven't figured it out, the V is fully cg.

When I arrived to Mainframe about seven months ago, first thing I did was firing up Nuke for the first time ever and got cracking on this short called, Hammered. It's written by Noel Clarke and directed by Steve Lewis. Me and two other guys at Mainframe worked on about 20 shots or so. Last friday it was screened for the first time, epic shit! I got myself a poster which is now beautifully framed, just sitting around my room making me a cool guy. As soon as I can find the time, I'll have some breakdowns done for y'all.

You can watch the full version right here

And a big ass picture here

This one was made a few months ago at Mainframe. Some people ask me what I did on this project and when I go "hey man, I comped the shit out of that shoe" they look at me like I was speaking Q'eqchi' or something. So to all my loved ones, a short breakdown for you. The 3D model was delivered with the brief and rendered by Jimmy Johansson at Mainframe. First time I used EXRs in Nuke, which was real handy and nice to play with. I ended up using almost 25 different ID's for color correcting, which gave me full control of just about everything from laces to the tiny tiny stitches on the vamp. The camera was exported from Maya to After Effects where the background was created and then rendered and imported into Nuke.

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3D Render: Jimmy Johansson

Nuke Compositor: Kalle Peterson

You really want to go fullscreen for this one buddy.

Got back to London last week and been working mad ever since. Me and the fine chaps over at Mainframe has been working on these VFX shots for The Courteeners upcoming video You overdid it doll. I worked on the seven shots where she starts to crack and fall apart. All shots but one were tracked in Nuke. The last shot had an insane amount of almost unnoticeable jitter. And after spending most of last sunday trying just about everything to get a track that would stick, I turned to Mocha to do a planar tracking and imported the tracking data in nuke. Since Mocha for After effects not exports data to Nuke (you need the full license) I had to do a few work arounds but it ended up working quite nice.

Since she's twisting and bending like a new born toddler I had to manually deform all cracks to follow her skin and muscle movement. This was obviously the most time consuming part. Unfortunately they weren't able to place tracking markers on her face and body while shooting, so getting a realistic feel was somewhat of a guessing game most of the time. But all the more fun and I sing my praise to Nuke's different warps. I rendered some particle simulations in Maya and had them falling of her. They're not that easily spotted in all shots but it adds a subtle movement and feeling of her actually falling apart that sort of helps to sell the shot. Finally I added some slight camera movements to make it feel more dramatic and not as static. I simply got a track of the jitter in the original footage and mapped the movement on a camera slowly moving towards her.

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Director: Dave Edwards

3D simulations: Arvid Niklasson

Nuke Compositor: Kalle Peterson

AE Compositor: Lee Walker

He's box modeled and all quads. At first i had a few triangles right around his pelvis but my friend and tutor Jimmy the rigger slapped me in the face and said "NO! if you wish to animate him, you really need to go with quads" So I cleaned him up a bit and ended up with a much nicer mesh. I probably did about 15-20 different versions of his hat in various colors and materials, and I've finally decided to go with this one. At first I planned on making the hat with nCloth but soon realized that the fabric won't be moving in the animated version so I quickly modeled some slouchy feeling to it instead. I played around with some materials to get him to reflect light in a correct way. It doesn't show to much here though, but you can see some bouncing going on around his cheeks. And I will probably have to give him some SSS later on. He renders in Vray in about 1.3min on a mac pro with some specs I can't remember at the moment, I'll update later with the spec.

Hey hey hey! New year, new blog. Thought I'd give this blog thing a go, some might argue that I'm a couple of years late. 14 years late or so. But the google word has it, that you're not cool enough if don't have the latest Rodarte garment, the latest Mosley Tribes shades and your very own personal blog. And I'm all about being cool enough.

I'm currently doing my internship at this lovely place called Mainframe in London. My left pupil is slightly smaller then the right one, it particularly shows during night time. It's not really important though. I will use this blog to keep track of my own progress. 9 out of 10 posts will be me trying to do cool shit. The first thing I'll blog about is this project, called the munny project. Where I'll be trying to take on all the different parts of a VFX project. Here's the disappointment, shit won't be blowing up. It's a short story about a lonely little munny roaming the streets of London. A munny is the ingenious invention of Paul Budnitz, the guy behind Kidrobot. Paul has no idea whatsoever that I am doing this. In fact Paul doesn't even know that I exists. And he would probably be quite upset with me if he found out. Or maybe Paul is a nice dude and goes "hey man.. I like that sad munny roaming the streets of London". Anyhow.. check back in a couple of days or so and I'll have the first render of Munny posted.