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Dry Bones

dan — Sat, 10 Dec 2011 18:49:20 +0000

This project was a collaborative effort that spanned countries & time zones with several artists working long hours to finally put this piece out. The passage comes from an Old Testament prophecy, taken from Ezekiel 37. Not only is the text extremely descriptive and visual, lending itself to beautiful imagery, but show that where there is death and exile, hope and life can be found.

Dan DiFelice. Director, Compositor, VFX Director
David Tate. DP, Editor
Michael Rinnan. CG Artist: Tracking, Muscle Dev/Animation
Renato Marques. CG Artist: Skin & Vein Dev/Animation
Justin Burton. CG Artist: Previz
Matt Fezz. Colorist
Salomon Ligthelm. Score/Sound Design
Chris Baden. Talent
Luke Atencio. VO Artist

We shot the piece entirely on the 7d and post work was done in c4d and Nuke. The project started in April with boards & CG dev, we shot in early June outside of Las Vegas, and spent June through October refining the CG as well as the composite, sound design, and color.

Vizio

dan — Sat, 10 Dec 2011 18:31:00 +0000

I worked on the two 30′s for Vizio’s first broadcast campaign while freelancing at the Mill NYC. I was the lead Nuke artist for the campaign and was responsible for live-action integration in addition to some of the look development for how the glass should interact with the light & environment. I worked directly with the 3d team and the 2d Creative director.

AT&T Coverage is a Beautiful Thing

dan — Sat, 10 Dec 2011 18:21:45 +0000

This was my first project while working with the Mill NYC. I was responsible for the live-action integration of several of the flower shots, mostly dealing with color, depth of field, and grain. The compositing was done all in Nuke. It was a great team to work on, with Andy Nicholas leading the 3d and West Sarokin leading the 2d front.

Kabar

dan — Sat, 10 Dec 2011 17:56:01 +0000

The Kabar campaign was a set of 3 commercials that I worked on while freelancing for director Joshua Frankel at Omega Darling. The fellows there created a method of projecting tracking markers onto talent and then by taking 180 degrees in photos they were able to generate a 3d mesh that matched the talent’s biometric figure.
The 3d geo was then animated in Maya to bring the muscles to life. The unwrapped UV was brought into Nuke and then reprojected back onto the the animated fbx sequence all in Nuke. This allowed us to create a natural depth of field and well as realistic tattoo features and tweak up until the end without going back through Maya for a final render.