domingo, 11 de dezembro de 2011

Toyota On Ice - Matte Painting and projection 3D

Exemplos de construção de um shot. Filmagem foi feito no deserto de sal e tem que ser transformado em um lago gelado no meio de montanas.

segunda-feira, 31 de outubro de 2011

Enki Bilal - Immortel

10 years old stuff when I was working in France, supervising virtual sets departement for Enki Bilal Immortel film.

quarta-feira, 25 de agosto de 2010

TOYOTA - Motorcity

My first role on this project was to do the concept. (My favorite part I have to admit) then the timeconsuming part going on set supervising filming and collecting survey datas, tracking, layouting, texturing and rendering of the motorcity.
As its is rarely the case, the agency, client and directors sticked to the concept art during the whole process. Even the DP analyzed the pics and put the same light intention on the studio as we were to film the car.
The big work has been done from the modeling guys and to mention one girl. (Daniel Ho, Danilo Enoki, Fernando Ometto, Karla Ruoco, Marcos Smirkoff, Rafael Martinez, Ramon Lima) . The remodeling of the motorparts made the lighting easy for us and a great job was done by Cleverson MsLeal in the final composition.

Toyota - Motorcity from Cleverson Ms Leal and Fred Palacio.

terça-feira, 24 de agosto de 2010

Fiat - Fiat - Uno Duni Te

Add for Fiat. We suffer a little because of the total freedom we had to make this commercial, a good thing but a high pressure to take due to the short time of production. The only constrain: Be different. Happy end ? Yes it was so succesfull we builded a stereoscopic version for Cinema.

Fiat - Uno Duni Te from CG and compositing - Cleverson MsLeal and Fred Palacio.

terça-feira, 29 de dezembro de 2009

Matte Painting - Fiat 500

Some matte paintings and concept done for the new Fiat 500.

quinta-feira, 30 de julho de 2009

Adaptation of literature: A Pedra do Reino

I could never imagine to work in such a beautifull project as the Tv adaptation of "Novel of the Stone Kingdom" writen by Ariano Suassuna. The author dedicated his career to the exploration and transformation of the popular Brazilian culture into a high art form.
Following this philosophy, Luiz Fernando de Carvalho decided to adapt the novel into the screen. And he fulfil all expectation.

I have to admit that I take some high concentration for any Gringo to fully understand the dialogue of the film (portuguese language). But to be short the story is as follow. Quaderna, the lead character, is a popular poet who thinks to be the fourth of a true lineage of noble Brazilians. To salve himself from dishonor he write and explain the memories of fights, political and mystical adventures.

From the direction of art by Raimundo Rodriguez to the costume design everything is visually splendid.
The opening was done at Lobo and I
supervised the visual effects on the miniseries at Vetorzero.
There were in fact few things to do in the 3D part, but there were to be done as subtle as possible.
First some shot needed a CG metal bird to fly, another part was to integrate metal computer generated wings on some goodness, and finally invent some way to write fire on the air.

The first step to be done was to get the right track from the director point of view. And so this begun with the vizualisation of the shot to be done. Once again a great thing at Vetorzero and Lobo, is when you get the green light you get all the responsability for the job.

So for the wings shots example I started making some quick concept. I had some reference picture of a wing but it looked very stiff. Some studies were done until getting the right option, witch i then drew upper the footage to get a final look until begin the CG work.

The main effort had to be done in Tracking, Rendering and compositing.
The tracking can be a hard job when there aren t any preparation before and during the shooting. When you have to integrate virtual things into a footage you need to recreate the camera or/and objects movement into the computer. Without good preparation it can be a pain in the ..s job.
The Rotoscoping on any postproduction is an key factor. Actualy its one part that nobody see when its welldone. ( I ll show you some example later on in the blog). The objectiv is making mask to reveal or hide part of the images.

Here you can see how a single shot can be workexpencive. It s not about just making a wing moving. There is matchmoving the virtual camera to the real one, tracking the womans movement, modeling the wings (Danilo), Riggin the bones so that it simulate a mecanical (thiago-Guilherme) or organical mouvement when the animator (Alex and Michel) work on the shot, and shading-rendering, to simulate the light and material proprierety. So as you see lots going on. Finaly the material generated in HD will end to Bodao s hand, our compositing artist.
A shot decomposition during the process (no final composite):

Director: Luiz Fernando Carvalho

Vfx Supervisor: Fred Palacio
Postproduction: Vetorzero
Comp: Bodao, Ze, Mao
Modeling 3D: Danilo Enoki, Tracking/Roto3d: Henrique, Guga, Brotas, Roto2D: Gassan, Maping: Domingos, Vanderley, RIG: Guilherme Rizzo, Thiago, ANIM: MichelBidart, Alex, RENDER: Cleverson, Bauer, Franck, GusYamin, R&D: Zu.

Open-title: Lobo

quarta-feira, 29 de julho de 2009

From drawing to 3D


A friend came one day and tell me.
Oh Fred if you get some time, make some crazy drawing, we get this project where a machine..blablabla... And without any restriction its what I did.
The drawing happened to work so good for the client that he decided to change what was to be a web campain into a Tv Campain.
I think that some people hated me having to build this machine in 3D, myself included (smile) ! But fact is, when you get the drawing, 3d production gets lots more easy, and the best time to make change is in the drawing, as it is a very fast process and one that can be done by one man. 3D is mostly a process of many men.

vfx supervisor: Fred Palacio
Visual Effects: Vetorzero