B R E A K D OW N S H E E T

NICOLAS GAUTHIER ‘Les Aventures Extraordinaires d’Adèle Blanc Sec’ | Dir. Luc Besson Lead CG Artist TD: Second on Sequence VFX Supervisor at Buf Compagnie FR TRACKING | MATTE | MODELING | MAPPING | RENDERING | COMPOSITING | SCRIPTS

0.07’ SHOT 001

I had to 3D restore the background plate behind the head and hands of the actor. I recreated missing textures by mapping an animated texture on every frame. I did this compex task by creating a 3d roto modeling and a multiple camera mapping controled by a script. Some additional manual paintings were projected by a camera mapping. Through an alpha matte, I gathered some texture by comparing a succession of frames before and after the current frame, in order to replace the missing texture. TRACKING | MATTE PAINTING| MODELING | MAPPING | RENDERING | COMPOSITING | SCRIPTS

0.11’ SHOT 002

Again, I had to 3D restore the background plate. My job was to remove the actors completely, before compositing all 3d characters. I had to keep the actor on the front.The problem was I didn’t have the background plate without the actors of the scene. To do so, I had rebuild all the existing set in 3D. I started tracking this shot and creating a 3d model. Simultaneously, I created a matte painting of the background, the characters key matte. Then I ereased the street furniture before mapping each element of the set.

‘Givenchy – Noir Couture’ | Dir. Darren Aronofsky Senior Compositor at Onirim FR COMPOSITING

In this movie, I had to create a fake tear running down on Liv Tayler’s cheek before she wipes it out. The client wasn’t satisfied by the 3D rendering. Therefore, I had a few hours to create through compositing only a few propositions of a running tear and it’s following wet effect on her cheek. 0.27’ SHOT 003

‘Carte Noire – Alchimie’ | Dir. Fabrice Carazo Senior 3D Generalist | Compositor at Buf Compagnie FR MATTE | MODELING | MAPPING | RENDERING | COMPOSITING

0.33’ SHOT 004

My task in this ad was to create the compositing of a stereoscopic smoke, to restore the background, to realize the grading of the shot and finally to rebuild the shape of the girl. The smoke was filmed and mapped on a 3d model before being composited. The film director wanted the smoke to look like an aroma and the woman to be perceived as having an orgasmic moment.

‘Enter The Void’ | Dir. Gaspard Noe 3D Generalist: Second on Sequence VFX Supervisor at Buf Compagnie FR TRACKING | MATTE | MODELING | MAPPING | RENDERING | COMPOSITING | SCRIPTS

0.39’ SHOT 005

The difficulty in this sequence shot was to create a camera flying trough different buildings and following multiple protagonists.This only a short part of it.To execute this taks, I tracked shots before combining them together with a new animation camera. I did the 3d modeling, the mapping, the rendering and the compositing, on my own. After that I was able to replace the front of the building with a new extension set I created.The final composite has been stabilized by a 2d tracking, making the camera movement more fluid.

‘Nissan – Gangs’ | Dir. Frederic Planchon 3D Generalist | 3D Matte Painter at Buf Compagnie FR TRACKING | MATTE | MODELING | MAPPING | RENDERING | COMPOSITING

On this commercial, I had to animate and do the rendering of the cars, to track the shot, to restore the set, and to create 3D matte painting for the background, to key the mattes and composite all elements together. 0.50’ SHOT 006

0.51’ SHOT 007

0.52’ SHOT 008

0.53’ SHOT 009

‘Rexona – Nitro’ | Dir. Fabrice Carazo 3D Generalist | Compositor at Buf Compagnie FR TRACKING | MATTE | MODELING | MAPPING | RENDERING | COMPOSITING | SCRIPTS

0.54’ SHOT 010

On this shot, I had to make the plane fly. The scene was shot on the floor with a traveling camera. I tracked the shot, made a 3d model of the plane, restored the landing gears, the camera crew’s reflection on the plane and the propellers. I created and animated new propollers and a new backdoor. After that, I rendered and composited all this and added atmospheric and photometric fx on the new sky.

‘Nina Ricci – L’Elixir’ | Dir. Nez Senior 3D Generalist | Compositor at Buf Compagnie FR TRACKING | ANIMATION | SHADING | RENDERING | COMPOSITING

My job was to create a flying bottle of parfum and sfx. Again, I tracked the shots, created 3d models/shaders/light set before animating them. To do that, I created particle effects before compositing all these elements on the shots. 0.55’ SHOT 011

0.57’ SHOT 012 TRACKING | MATTE | MODELING | MAPPING | RENDERING | COMPOSITING

In this sequence, I created an street set made of paper. I did a part of it, and then lead some people to finish the integration. 0.59’ SHOT 013

‘Fleury Michon - Recette authentique’ | Dir. Sébastien Cirade Lead Supervisor | Compositor TD | Matte Painter at Bollywood FR TRACKING | MATTE | MODELING | MAPPING | RENDERING | COMPOSITING

On this commercial, I had to extend a set of a parisian street in the beginning of the 19th century. I create a versioning before finalizing the 3d matte painting. 1.00’ SHOT 014

1.05’ SHOT 015

‘Thor’ | Dir. Kenneth Branagh Environment TD Supervisor [Modeling / Texturing] at Buf Compagnie FR DESIGN | MODELING | TEXTURING | SHADING | SCRIPTS | PIPELINE

1.09’ SHOT 016

1.10’ SHOT 017 1.14’ SHOT 018 1.16’ SHOT 019

1.17’ SHOT 020

1.20’ SHOT 021

On the Thor movie, I was a TD supervisor. I lead a team of artists into creating this set. We had to find a design, to create 3d models, shaders and textures. A teamwork with the sfx and lighting departement to build this set. I had to develop a work process between different departement and to build some tools so that work could be done more efficiently.

‘City of Ember’ | Dir. Gil Kenan 3D Generalist | 3D Matte Painter at Buf Compagnie FR TRACKING | MATTE | MODELING | MAPPING | RENDERING | COMPOSITING

On this shot, I worked closely with a matte painter. Another graphist had already starded the job. I had to rebuild all the shot without changing the parts that had already been validated by client/director. 1.23’ SHOT 022

‘Babylon A.D.’ | Dir. Mathieu Kassovitz 3D Generalist | Compositor [VFX] at Buf Compagnie FR

TRACKING | MATTE | MODELING | MAPPING | RENDERING | COMPOSITING

This job was to extend the existing set of the city. I had to integrate 3d set extensions collected in a data bank.

1.27’ SHOT 023

‘Asterix at The Olympic Games’ | Dir. Frederic Forestier Key and Roto Artist at Buf Compagnie FR MATTE

My job was to create the matte of the foreground.

1.32’ SHOT 024

‘Babylon A.D.’ | Dir. Mathieu Kassovitz 3D Generalist | Compositor [VFX] at Buf Compagnie FR TRACKING

I created the 3D tracking of this steadycam shot.

1.36’ SHOT 025 TRACKING | MATTE | MODELING | MAPPING | RENDERING | COMPOSITING

This job was to extend the existing set of the city. I had to integrate 3d set extensions collected in a data bank and decline them into other camera axis. 1.42’ SHOT 026

‘Gesaffelstein’ | Dir. Fleur Manu Senior Compositor | Matchmover at Mathematic FR TRACKING | MATTE | COMPOSITING

I build the multi camera 3D tracking of this 1700 frames shot. I worked on little part of 3D restore and matte.

1.43’ SHOT 027

‘Babylon A.D.’ | Dir. Mathieu Kassovitz 3D Generalist | Compositor [VFX] at Buf Compagnie FR TRACKING | MATTE | MODELING | MAPPING | RENDERING | COMPOSITING

This job was to extend the existing set of the city. I had to integrate 3d set extensions collected in a data bank and decline them into other camera axis. 1.49’ SHOT 028

‘Enter The Void’ | Dir. Gaspard Noe 3D Generalist: Second on Sequence VFX Supervisor at Buf Compagnie FR TRACKING | MATTE | MODELING | RENDERING | COMPOSITING | SCRIPTS

I had to develop a design effect concept based on sensitive sensations and release the final shot.

1.52’ SHOT 029

‘Gesaffelstein’ | Dir. Fleur Manu Senior Compositor | Matchmover at Mathematic FR TRACKING

On this shot I created the 3D tracking.

1.56 ’ SHOT 030

‘Babylon A.D.’ | Dir. Mathieu Kassovitz 3D Generalist | Compositor [VFX] at Buf Compagnie FR

TRACKING | MATTE | MODELING | MAPPING | RENDERING | COMPOSITING

This job was to extend the existing set of the city. I had to integrate 3d set extensions collected in a data bank. In this particular case, I worked with Flame Artist to realise this final effect. 1.59’ SHOT 031

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