Once again I used myself as a test subject for this design. I have found that it is just easier to shoot yourself than it is to try and get other sources of footage. You usually wind up wasting a lot of time. The design for this was first worked out by the director and myself and then refined with Fuse FX. What we were going for here was an updated Ghost Busters look crossed with a bit of Harry Potter's wand that emitted a viscous fluid falling off from the stream. Slight amounts of smoke were added using Fume FX. This was more about Plasma than Electricity. So electricity played a supporting role in this look.
In this footage, I shot myself using the Canon 7D set at 1920 x 1080p. I shot myself walking into frame to point
and then I exited camera right. Using the clean frames after I left frame, I then broke the camera's lock to perform a nodal pan toward the house. Fuse FX performed the test and ultimately did the incredible job on the final sequences.
This video shows how my team and I pulled off a mid-air skydiving rescue between the characters of Jemma Simmons and Grant Ward. Elizabeth Henstridge and Brett Dalton were shot on a small green screen stage hanging from wires and or rotating on a turntable. Both actors had been digitally scanned giving us Digital Double Stunt performers of both actors. This gave me the freedom to create larger scope shots that were not possible with the real actors. The digital double performances were driven by World Champion Sky Diver, Hannah Betts and Brett's stuntman, Greg Rementer on the Sony motion capture stage.
Visual Effects Specialty & Test Reels
This test was shot using my Canon 7D at 1920 x 1080p. The purpose was to look into different ways that we were thinking about compositing fire. In this test, the first part of the back of the hand is Fume FX in Max and the wide front angle is a practical fire element.
This VFX Reel is from Agents of S.H.I.E.L.D., Season 3 ep 306 where we transformed Blair Underwood's character, Andrew, into Lash. It incorporated, photogrammetry of both Blair and actor Mathew Willig, full motion capture of Blair, secondary character animation, cloth & hair simulations, HDRI lighting, animated in 3D Studio Max and composited in Nuke.
I feel that we took a level of 3D character animation mostly reserved for feature film making such as "The Avengers", Hulk transformation and adapted that process and level of realism to broadcast television.
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