VFX Compositor
Several weeks ago, I was not sure if compositing was for me. However, after develop my skills in Nuke and seeing how several assets in different formats, lighting, texture, etc, can be put together using lots of different techniques to create a final a scene or sequence, really has taken my full attention and interest. I love modelling and texturing, but I also enjoy putting everything together and create different environments using varied effects, lighting and colours. Being responsible for the final look of a piece could be overwhelming but also really rewarding at the end.
A VFX Compositor is in charge to create the final look of a scene or sequence, taking all digital materials needed such as live-action footage, CGI, and matte paintings, and connecting them all in a single shot. These materials are connected in a way that they look like they belong together in the same scene. A key aspect for compositors is to be able to create realistic lighting settings since relighting to make the shot convincing to the viewers eye is important to the success of the sequence. Another aspect to take in consideration is ‘chroma keying’, technique in which a specific colour or lighting of a shot is picked to be altered or replaced. This method is commonly used in ‘green/blue screen’ where a saturated green/blue background is placed to shot live-action footage with it and then be replaced in post-production with the desired background or CGI.
What I like the most about this, is the numerous environments that can be put together with this, since the only limit established is the imagination. There are a lot of examples about amazing environments created like this, but one example that has caught my attention is the ‘upside-down world’ created for the Netflix series Stranger Things:
This shot was a one minute and six seconds master shot with blue screen background which was composited with five different plates, four characters, CGI creatures, and an environment that was made of both real scenography and VFX. In order to make it look ‘realistic’, the visual effects had to match the live-action footage so there is no feeling of low quality background screen. Therefore, they used highly detailed assets and textures that at the same time had to be optimised to be more efficient. This demonstrates the level of expertise a Compositor needs to be able to keep a balance between high quality and efficiency, as this requires a vast knowledge and resources usually acquired with years of practice and experience.
Apart from the technical and creative side of the job, it is also important to be aware or at least being an observant person regarding the physics of our surroundings, for example, the difference between the movements that the leaves of a tree do when the wind blows or when a helicopter is approaching; or how the cast of shadows can differ depending on the time of the day, texture of the surface, artificial light added, etc. DNEG work in Uncharted movie, shows a lot of examples and techniques used to make these physics as realistic as possible:
This position requires a lot of attention to detail and full understanding about the software used such as Nuke, since many times I have found myself changing the aesthetic of a scene for not having the knowledge enough to tweak certain features as I want to. Getting stuck in the process is certainly how a person learns and develops their knowledge, and also demonstrates their problem-solving skills, however, I can understand why this position is not offered as ‘entry level’ since it requires refined skills and efficiency, which I hope one day to achieve.
References
DNEG (2022). Behind the VFX | Stranger Things Season 4 | DNEG (online). Available at: https://www.youtube.com/watch?v=RYP8yscXFyY [Accessed 24 February 2023]
DNEG (2022). Uncharted VFX Breakdown | DNEG (online). Available at: https://www.youtube.com/watch?v=McI9uFac_hw [Accessed 24 February 2023]