Compositor Show Reel Shot Breakdown, 2025

Access to reel requires a password.

https://vimeo.com/1047327980

00:00 – Title Card

00:01 – Prey, 2022. 
Only the CC as a creative note to make the blood read as more red in the misty plate.
Nuke.

00:08 – Prey, 2022. 
Apply metallic highlight to wounds. Clean-up around hands and green blood splatter, where as the full integration (arm, hand, blood) was by John Castillo. 
Nuke.

00:09 – Prey, 2022. – Two Mouse Shots
Integration of wound, CC, CG mouse, and tracking. Also help from a senior compositor to apply flicker from torches to connecting shots.
Nuke.

00:16 – Little People S2, “Braver Together.” 2018.
Uses surrounding shots to make solo passes of 3D firefly trails. Apply these renders as alpha hold-outs on cards. Match live-action reference of fireflies glow timing. 3D firefly glow.
Maya, Renderman, Nuke.

00:22 – Ant-man and the Wasp: Quantumania, 2023.
Update previous script with new CG suit render, CC goo at neck to match the chin, and clean-up at the neck. Had help with removing torso from plate. QC, check black/ white levels. 
Nuke.

00:25 – Transformers: Rise of the Beasts. Optimus Prime marketing stills. 2023.
Relight using warm and cold colours from lighting AOVs to contrast and compose shape. Eye glow is enhanced using ID passes, grades. 
Nuke.

00:28 – Space Ranger Roger S1, “Roger Sticks the Landing.” 2017.
Animate the glow pulse. Confetti matches show standard treatment, reoccurs in every episode.
Nuke. 

00:30 – Personal Project: Action VFX Plates, "Car-Fire."
Place the burn marks, fire footage, and sparks. CC the fire and smoke for look of a fire that has been happening for a while. Glow and tracking.
Nuke.

00:34  – Inspector Gadget S2, “Midnight Madness.” 2018.
Roto-lightening shapes are timed on-off using Echo-node. Apply skeleton graphic and glow on skeleton. Matches look of reoccurring treatment, established in “Jurassic Jerk” (2017).  
Nuke. Photoshop.

00:34  –  Acapulco, Short, 2014.
Clean mattes of screen-left wall, rotoscoping, and tracking to hold mattes during camera move. 
After Effects, Photoshop.

00:39 – Little People S2, “Kolby Speaks Up.” 2018.
Nuke bubbles and rain-spout tools are from previous episodes. I made interactive bubbles clinging to the scrubbers are Maya bubbles. 
Nuke, Maya.

00:43 – Charlie’s Colorforms City S1, “Charlie is Super.” 2019.
Create hero solo moment with glow, blur, and animation timing for when 2D Harmony sequences appear.
Nuke.

00:49 – Jim Hensen's Doozers S2, “Sand Sailer.” 2018. 
Sand poofs follow locators constrained to surfboards. Adapted from Molly’s jet-pack, used throughout S2. CC to match BG sand, and applying more gravity and particle wind than Molly's jet-pack. 
Maya, Nuke.

00:53 – Charlie’s Colorforms City S1, “Mystery Charlie.” 2019.
Integrate matte for switch to lit fire, added glow to moon, sparkle particles to flamingo.
Nuke.         

0:59 – Outro Title Card, Charlie’s Colorforms City S1, “Mystery Charlie.” 2019.
Rainbow is cut from the end of the shot using the Harmony/Maya “Brain-bow.” 
Nuke.         
 
Video run-time: 1 minute 04 seconds.

Part of Caillou Season 1 is Streaming on Peacock and Family Jr. in Canada

 

F is For Family Trailer Season 4, 2020: I rendered the black outlines for the Vehicles!

 

Compositor Reel September 2024

Compositor Show Reel Shot Breakdown 
Access to reel requires a password.
https://vimeo.com/manage/videos/917204614
00:00 – Title Card

00:01 – Prey, 2022. 

Only the CC as a creative note to make the blood read as more red in the misty plate.
Nuke.

00:08 – Prey, 2022. 
Apply metallic highlight to wounds. Clean-up around hands and green blood splatter, where as the full integration (arm, hand, blood) was by John Castillo. 
Nuke.

00:09 – Prey, 2022. – Two Shots
Integration of wound, CC, CG mouse, and tracking. Also help from a senior compositor to apply flicker from torches to connecting shots.
Nuke.

00:17 – Little People S2, “Braver Together.” 2018.
Uses surrounding shots to make solo passes of 3D firefly trails. Apply these renders as alpha hold-outs on cards. Match live-action reference of fireflies glow timing. 3D firefly glow.
Maya, Renderman, Nuke.

00:22 – Ant-man and the Wasp: Quantumania, 2023.
Update previous script with new CG suit render, CC goo at neck to match the chin, and clean-up at the neck. Had help with removing torso from plate. QC, check black/ white levels. 

Nuke.

00:25 – Transformers: Rise of the Beasts. Optimus Prime marketing stills. 2023.
Relight using warm and cold colours from lighting AOVs to contrast and compose shape. Eye glow is enhanced using ID passes, grades. 
Nuke.

00:28  – Transformers: Rise of the Beasts. 2023.
Apply Arcee's shadow for both transformers character and motorcycle, and clean-up some Keying roto-masks for another artist.

00:31 – Space Ranger Roger, “Roger Sticks the Landing.” 2017.
Using goo push shape in plate render, added Ncloth to create second impact berm from scooter wheel at screen-right. CC and roto-masks to blend edges into FG, on top of plate.
Nuke, Maya, Ncloth.

00:32 – Personal Project: Action VFX Plates, "Car-Fire."
Place the burn marks, fire footage, and sparks. CC the fire and smoke for look of a fire that has been happening for a while. Glow and tracking.
Nuke.

00:33 – Personal Project: Action VFX Practice Footage, "Keying."
Worked on outer edges for hair details, removed holes in body of key. WIP.
Nuke.

00:35 – Charlie’s Colorforms City S1, “Charlie is Super.” 2019.
Create hero solo moment with glow, blur, and animation timing for when 2D Harmony sequences appear.
Nuke.

00:40 – Little People S2, “Kolby Speaks Up.” 2018.
Nuke bubbles and rain-spout tools are from previous episodes. Interactive bubbles clinging to the scrubbers are Maya bubbles. 
Nuke, Maya.

00:44  – Inspector Gadget S2, “Midnight Madness.” 2018.
Roto-lightening shapes are timed on-off using Echo-node. Apply skeleton graphic and glow on skeleton. Matches look of reoccurring treatment, established in “Jurassic Jerk” (2017).  
Nuke. Photoshop.
 
00:46  –  Acapulco, Short, 2014.
Clean mattes of screen-left wall, rotoscoping, and tracking to hold mattes during camera move. 
After Effects, Photoshop.

00:40 – Space Ranger Roger S1, “Roger Sticks the Landing.” 2017.
Animated glow pulse. Confetti matches show standard treatment, reoccurs in every episode.
Nuke. 

00:55 – Jim Hensen's Doozers S2, “Sand Sailer.” 2018. 
Sand poofs follow locators constrained to surfboards. Adapted from Molly’s jet-pack, used throughout S2. CC to match BG sand, and applying more gravity and particle wind than Molly's jet-pack. 
Maya, Nuke.

0:58 – Outro Title Card, Charlie’s Colorforms City S1, “Mystery Charlie.” 2019.
Rainbow is cut from the end of the shot using the Harmony/Maya “Brain-bow.” 
Nuke.         
 
Video run-time: 59 seconds.

Compositing Show Reel June 2023

Link to the reel requires a password. Thank you.

https://vimeo.com/836758199       * Revised *

Compositing Show Reel Shot Breakdown  – JUNE 2023 –
 
00:00 – Charlie’s Colorforms City S1, “Mystery Charlie.” 2019.
Intro Title Card: is cut from the end of Harmony/Maya “Brain-bow.” Cut from shot that matches show standard look.
Nuke.
 
00:02 – Little People S2, “Braver Together.” 2018.
Uses surrounding shots to make solo passes of 3D firefly trails. Applied these renders as alpha hold-outs on cards. Match live-action reference of 2D BG fireflies timing. 3D firefly glow.
Maya, Renderman, Nuke.

00:09 – Doozers S2, “Holed Up.” 2018.
Emit blurry dust and rocks, and match the rocks to key shots. Render CG rocks for alpha. Attach a locator to follow the bulldozer. Dust clouds adapted from Molly’s jet-pack, from S2.
Maya, Renderman, Nuke.
 
00:18 – Transformers: Rise of the Beasts. Optimus Prime marketing stills. 2023.
Relight using warm and cold colours from lighting AOVs to contrast and compose shape. Eye glow is enhanced using ID passes, grades. 
Nuke.

00:24 – Inspector Gadget, “Gadget and Oatsfunkle.” 2018.
Uses tornado geometry from animation department to emit white dir-blur streaks. Characters brightened to contrast BG.
Maya, Nuke.

00:30 – Space Ranger Roger, “Roger Sticks the Landing.” 2017.
Build off of goo push shape in plate render, by use of Ncloth to create second impact berm from scooter wheel. CC and roto-masks to blend edges into FG, on top of plate.
Nuke, Maya, Ncloth.
 
00:34 – Kingston Paradise. 2013.
Combine muzzle flash element with opacity of smoke, placement of smoke footage, and roto-mask for interactive glow.
After Effects, Photoshop.
 
00:41 – T_Denoised 04, 2017.
Remove the red glow from BG flight equipment, apply FG characters on top of paint-out.
After Effects, Silhouette, Photoshop.

00:43 – Jim Hensen's Doozerz S2, “Sand Sailer.” 2018. 
Sand poofs follow locators constrained to surfboards. Adapted from Molly’s jet-pack, used throughout S2. 
Maya, Nuke.

00:46 – Charlie’s Colorforms City S1, “Charlie is Super.” 2019.
Create hero solo moment with glow, blur, and animation timing for when 2D Harmony sequences appear.
Nuke.

00:50 – Miss Weather and Friends, “Charlie Goes Camping.” 2022.
Transition fire glow over main-plate following lighting strike. Match flamingo particles to approved design.
Nuke.
 
00:56 – Space Ranger Roger, “Roger Sticks the Landing.” 2017.
Animated glow pulse. Confetti matches show standard treatment, reoccurs in every episode.
Nuke.
 
01:00 – Outro Title Card.
Same footage with defocus and text.
Nuke.         
 
Video run-time: 1:02 seconds.
 
 
 
 
 

Compositing Show Reel May 2023

 Compositing Show Reel Shot Breakdown – SANDRA HERMAN 

https://vimeo.com/825112358    password protected

00:00 – Charlie’s Colorforms City S1, “Mystery Charlie.” 2019. Title Card: is cut from the end of Harmony/Maya “Brain-bow.” Cut from shot that matches show standard look. Nuke. 

00:02 – Little People S2, “Braver Together.” 2018. Using surrounding shots to make solo passes of 3D fireflies trails. Applied these renders as alpha hold-outs on cards. Match live-action reference for 2D background fireflies on-and-off timing. 3D firefly glow. Maya, Renderman, Nuke. 

00:08 – Doozers S2, “Holed Up.” 2018. Emit blurry dust and rocks, and match the rocks to key shots. Rendered CG rocks for alpha. Attached a locator to follow the bulldozer. Dust clouds adapted from Molly’s jet-pack, used throughout S2. Maya, Renderman, Nuke. 

00:18 – Little People S2, “Kolby Speaks Up.” 2018. Scrubber bubbles treatment increases through sequence. Escaping bubbles adapted from Nuke bubbles used in episode, “Potty Ahoy!” S2. Nuke waterspout adapted from Little People S1, “Help Wanted.” Transparency and roto-mask clean-up. CC to match plate sky colour. Maya, Renderman, Nuke. 

00:23 – Doozers S2, “Sand Sailer.” 2018. Sand poofs follow locators constrained to surfboards. Adapted from Molly’s jet-pack, used throughout S2. Maya, Nuke. 

00:27 – Space Ranger Roger, “Roger Sticks the Landing.” 2017. Create the impact shape from scooter wheel. CC and roto-masks to blend edges into foreground. Nuke, Maya, Mental Ray.

00:30 – Kingston Paradise. 2013. Muzzle flash element, opacity of smoke, placement of smoke footage, Roto-mask for interactive glow. After Effects. 

00:37 – Inspector Gadget S2, “Midnight Madness.” 2018. Roto-lightening shapes, timed on-off, skeleton graphic, cast glow. Matches look of reoccurring treatment, established in “Jurassic Jerk” (2017). Nuke, Maya. 

00:40 – Miss Weather and Friends, “Charlie Goes Camping.” 2022. Transition fire glow over main-plate following lighting strike. Match flamingo particles to approved design. Nuke. 

00:49 – Charlie’s Colorforms City S1, “Charlie is Super.” 2019. Create hero solo moment with glow, blur, and animation timing for when 2D Harmony sequences appear. Nuke. 

00:53 – Kingston Paradise. 2013. Muzzle flash element, opacity of smoke, placement of smoke footage. After Effects. 

00:55 – Space Ranger Roger, “Roger Sticks the Landing.” 2017. Animated glow pulse. Confetti matches show standard, reoccurs in every episode. Nuke. 

01:00 – Charlie's Colorforms City S1, “Mystery Charlie.” 2019. The same footage used for Title Card, only now it’s a still frame. Video run-time: 1:01 seconds.

Crater 2023

Crater 2023

This film is the first show I worked on at Mr.X Montreal!

My latest Junior VFX Comp work can be found in the Marvel film, "Ant-Man and the Wasp: Quantumania."

Multiple trailers can be found at artofvfx.com.

 https://www.artofvfx.com/ant-man-and-the-wasp-quantumania/

And...the "Drink the Ooze Sequence" can be found here:

Prey 2022 ---- Compositing

I worked on the fifth installment in the Predator franchise, the film Prey (2022). It was last spring/summer that I joined the team, at the tail end of production. Here are a couple of industry articles/ promotional materials for Prey (2022), which released on Hulu and Disney Plus in August (2022). 

and brush up on your deadly weapons knowledge from this article:

https://www.artofvfx.com/prey-chris-uyede-vfx-supervisor-mpc/