Sunday, March 2, 2014

Demo Reel 2014

aurryPrevis/Layout 2014 from Aurry on Vimeo.

Reel Breakdown
All CG work done in Maya, Rendered in Renderman Studio 18 and composited in Nuke


Previs work on Epic at Blue Sky Studios during summer internship:
Responsible for modeling/texturing of all set elements, all CG compositions and camera animation, posing and animation of the characters, and lighting.


Legend of the Flying Tomato Shots 1-9
Responsible for all 3D camera and staging, set design and lighting, compositing.


This is the second sequence in our film. For this sequence, the little girl Frida goes through an emotional change from sad/fearful to inspired. It was thus necessary to show the emotional change via the camera language. Deep space was used to convey fear, and flat compositions were used when she started gaining confidence. Widescreen was used to best show the dynamic fight scenes that we have in the film.

1. This is the establishing shot of this sequence. I used a wider lens to show the space of the house. Additionally, as she is feeling fearful, a deep composition is used here. I composed the lights so that she is light against a dark background, and our eye is drawn immediately to where she is. This shot is also composed so that all the leading lines go directly to the character.

2. A change in the television program signifies a change in her life. The space is starting to flatten out. I used a longer lens so as not to distort her as she is close to camera.

3. The composition is flatter here, to clearly show the televison and to bring the audience into the world of the commercial.

4 and 5. I composed these two shots so that the composition of shot 5 is flatter than 4, to accompany Frida’s emotional change. The cameras used in these 2 shots are long lenses so as to flatten the space and to compress the foreground and background.

6. It was important to maintain the eyetrace from this shot to the next as we transition between shot 6 and 7.

7. In this shot, it was important to show how much this El Pirana figure means to our character. When I created this shot in 3D, it became obvious that the character is starting to get lost among the posters. Thus I increased the size of one of the poster, to make it the main focus out of all the other posters and to draw our attention it, and also to use it as a framing device for the character. An upshot is used to convey the feeling of grandiose and inspiration.

8. Responsible for animation too. In this shot, it was important to show that the character is now embarking on a new life after being inspired by her hero. Morning lighting is used, and the light beams create leading lines to the character. I made sure that her face is light against a darker background so that our eyes go to her immediately.The poster also creates a frame behind her. The camera is lower to the ground and tilted up so as to make her appear large in frame, as she is gradually gaining power in this shot.



9. Responsible for animation too. It is important in this shot that she appears more dynamic. A wide lens is used to push the proportions of the character, and it is an upshot to give her more screen presence. I switched to a HD screen size here so that it appears that she is breaking the space as she spins into her signature move.

Legend of the Flying Tomato Shot Numbers 10, 11, 12
Responsible for camera and staging


Legend of the Flying Tomato shot numbers 13-14
Responsible for camera and staging, character and set texturing, lighting, compositing


Legend of the Flying Tomato shot numbers 15-28

This is the final sequence in the film. The most important aspect was to show that she’s using her own unique move, inspired by her hair to defeat the opponent. Choreography for the fight scene was done by me and my teammate Michael Yates.

In this sequence, I used mostly wide lenses for the fighting shots to push the angles and make the shots look more dynamic. The challenge was to allow every shot to read immediately as they were only on screen for a few seconds or less. I made sure that the eyetrace is in position with regards to the previous and following shots so that the audience can follow her quick movements easily.


15. Responsible for animation, camera and staging.

16, 17. Responsible for camera and staging

18, 19. Responsible for animation, camera and staging.  As I started previs for this sequence, we realised that having the female character (Frida) attack with her fists was not the best way to go. Thus I changed it to have her use her feet instead.

20. Responsible for animation, camera and staging.

21. Responsible for animation, camera and staging.

22. Responsible for animation, camera and staging.

23. Responsible for animation, camera and staging.

24. Responsible for animation, camera and staging.

25. Responsible for animation, camera and staging.



26. Responsible for animation, camera and staging. I flipped this shot in 3D as it flows better with the previous shot having the characters go from screen left to right instead of right to left as in the boards.

27. Responsible for camera and staging.

28. Responsible for camera and staging.