Charlie's Colorforms City -- Netflix Teaser

Streaming on March 22, 2019

Shows from my REEL that are streaming!

 Canadian Netflix, March 22, 2019 

 Hulu, May 28, 2018

American Netflix, June 2, 2017

Space Ranger Roger Compositing Work

** Depicted in this episode, is a close-up of the scooter stuck in green goo. I adjusted the VFX goo at the moment when the wheel pushes forward, to add an extra bit of impact. There is also a confetti burst and glow pulse, and a character beam-up scene, which are standard effects for this series. 9:44-9:58 and 10:38-10:58 are the shots I worked on in this episode. WildBrain, a kids YouTube channel, plays the first season. 

Compositing, Rotoscoping, and Texturing Reel Feb.2016

Compsiting, Rotoscoping, and Texturing Reel Feb.2016 on Vimeo:

This is a massive edit for timing, making room for newer work experience.

Compositing Reel

Lighting and Compositing Reel from Nov.30.14 on Vimeo

New revision includes the recent Lincoln Centre Previs project, which involved detail-specific colour correction elements in After Effects and Photoshop. Also, an extra interior lighting pass has been added to the Battleships project. See the ship that is camera right for the edit.

Urban Decay Final -- Increasing Lighting and Texturing Skills

Beauty Pass for Urban Decay
Continuing to learn render layer set-up for 3DsMax

I wanted to make the photometric lights physically visible in the scene as a line of bright factory lights above the pipes, against the brick wall. There must be some obvious settings to do that, I could fake it in-post too. I did want to make the dirty glass windows have some luminescent glow, but the phong shader either went invisible of solid. That one shadow on the ground is too sharp. Overall, I was going for a dreary feeling. The overcast sky helps that come across.

A bit of Z-depth and glow added to the windows. Another render is needed to make sure that the dirty glass texture is visible.

Urban Decay WIP November 2014 from sandra herman on Vimeo.
Quick breakdown of early light setup and textures.

Urban Decay Textures Revisit in 3DsMax

Starting to relight the scene in 3DsMax. There was this problem with the walls, floor, and roof disappearing. Originally I thought it was a MR sun/IBL issue, so I thickened the geometry of the walls. It was just a matter of changing the settings for a few shaders. Above is the scene, the second version has final gather settings. There is a directional sun light (key) pointing into the open wall and a fill light.  

Urban Decay Work-in-Progress

Urban Decay WIP November 2014 from sandra herman on Vimeo.

Model by Preston Platt, CG Society Challenge #38

Test render and beauty pass with some textures, key, bounce, and fill lights, with some luminescence aimed at the glass windows.

Some reference images:
http://i.dailymail.co.uk/i/pix/2013/10/21/article-2470148-18E0FE2E00000578-521_634x944.jpg
https://www.flickr.com/photos/filth_city/6209276710/

Lighting and Compositing Reel, OCT 2014 v04

 Reel OCT 2014 H264 04 from sandra herman on Vimeo.

REEL OCTOBER 2014 H264, FOUND ON VIMEO

Revision of battleships project. Features two animated cameras, a cannon fires and smoke dissipates. Minor text, timing tweaks, and re-ordered the projects.

SANDRA HERMAN   |   SHOT BREAKDOWN  

Introduction, 7 seconds, After Effects
Cement overlay, colour solids, glow, reflection, animation keying by Sandra Herman

VFX Muzzle Flash, “Kingston Paradise,” Feature Film, 12 seconds, After Effects
Footage courtesy of director Mary Wells and Autonomous Entertainment
Two shots, compositing: muzzle flash, glow effect, smoke integration by Sandra Herman

Ceiling Cut-out, Integrated Cameras, “Acapulco,” Short Film, 23 seconds, After Effects, Photoshop
Footage courtesy of directors Samuel Plante and David Planche
Compositing: 3D projection, 2D mattes, 3D cameras, extended carpet-floor, colour correction by Sandra Herman

Captain’s Log, Project, 12 seconds, Maya, Mental Ray, Photoshop, After Effects
Model by Giorgio Luciano
Compositing: 2D mattes, cameras, water effect, lights, texturing by Sandra Herman

Dropship, “One’s Own Body,” Short Film, 22 seconds, Maya, Photoshop, After Effects
Model courtesy of Conor Loftus and CWPL Films
Metal textures and shaders, lighting, camera, rendering by Sandra Herman

Neon and Chrome, Project, 26 seconds, Maya, Mental Ray, Photoshop, After Effects
Model by Christopher Desse and Matthew Thain
Camera, vehicle rig, textures, interior/exterior lighting by Sandra Herman

Clean-up and Tracking, “Acapulco,” Short Film, 7 seconds, After Effects, Photoshop
Footage courtesy of directors Samuel Plante and David Planche
Compositing: wall mattes, tracking, rotoscope wall/cushions by Sandra Herman

Colour Adjust, Title Edit, “Acapulco,” Short Film, 6 seconds, After Effects, Photoshop
Footage courtesy of directors Samuel Plante and David Planche
Compositing: match marker colour, July title, track letters and lines by Sandra Herman

sandratraceyherman@yahoo.ca   |   sandraherman.blogspot.ca