Bonds Tech Trunk with Dustin Martin

Art Director, VFX & CG Supervisor: Mat McCosker

Production Company: Good Cop Bad Cop

Agency: ARC Factory

Director: Marty Moynihan

Producer: Michael Metzner

DOP: Liam Gilmour

Production Designer: Tim Burgin

Sound Design: Sonar Music

Bonds Tech Sport original plate - basic grade

original plate

Shot on the ALEXA XT , ProRes 4444 Log C

I/O to 10-bit dpx using Resolve 14

Resolve colour workflow - ACEScc / ACES 1.0.3 https://acescentral.com/

Nuke colour workflow - ACES 1.0.3 (IDT - ARRI - V3 LogC (EI800))

ODT - rec709 on a Flanders Scientific BM210 LCD 10 bit Display (http://www.flandersscientific.com/BM210/ )

Nuke comp

resolve grade

Design References

Looking at the neon of ‘Overwatch’ plus lighting and grading tests.

concept art / lighting brief

Here are some some lighting ideas I roughed out with for Director, Marty & Production Designer, Tim Burgin.

CG concept art

CG previs / layout

Initial blocking / massing of buildings for skyline. These were created hand in hand with Pre-vis so that VFX/CG art-direction would be in step with on set production design.

CG Assets shading and texturing

CG blocking / previs

Further blocking / layout, basic lighting & atmosphere tests. Rendering with Redshift 2.6.11

Lighting Reference - Bladerunner

example atmosphere levels

Lighting Reference

CG Asset build, shading & texturing

Textured assets with approved shaders exported as Redshift proxies - https://docs.redshift3d.com/display/RSDOCS/Proxies?product=maya

CG Asset build, shading & texturing

Addition of objects textured from on-set images / basic photogrammetry .

Beauty pass

Nuke comp

Resolve grade and motion graphic additions

BONDS TVC - stunts warm up

Action shot

Previs

With previs thoughts were that use of green-screen could prove cumbersome and possibly unnecessary. VFX direction was to extend the set through the smoke / atmos on a set lit without green-screen.

set design VFX corrections

concept CG was impractical and scale corrections were made for production dept.

production build

Production Designer, Tim Burgin with Director, Marty Monihan.

Here we discussed the trade offs between what could be achieved on set and in VFX/CG.

This ‘central wall’ was a key point of integration between the two.

production build

Measuring the completed ‘central wall’

Lighting setup

Selfie as the on-set lighting rig is assembled.

On-set lighting cues, such as flashes of red, would be key to creating believable integration with the CG lighting.

Lighting from the soft boxes was generally held low (0-10%) but could be spiked through the DMX desk for flashes / flares etc.

Marty and I discussed misting up the set to match the ‘Bladerunner’ lighting example.. the mist would become a light source/reflector in itself for these flashes and would integrate with the CG volumetric mist and 2D stock footage to be composited in.

Using a variety of layered techniques like this is often the best way to get more believable integration.