Stages of Larry
Quick covers for each disc of the Heart and Soul collection.
The Sins and their Master.
What Sloth should’ve looked like.
This is the paragon of an unappreciated shot. What looked like a simple task, wasn’t and I spent a whole night trying to achieve what I estimated to be an hours work …Who’d ever guess?
The last task, another compositing shot with masking mayhem. An afterthought during production, this shot has become the tricky one yet. I expected to to be able to use techniques that I’ve come accustomed but this one demanded so much more. I found myself restarting this several times, ending up making around eight different for the final shot. It would’ve been so much easier if the focus didn’t change on different objects at different times, if the actor didn’t move around so much or if the telly didn’t already omit a bright white light. I could’ve requested the editor to replace it with a back-up shot but I felt like I should challenge myself.
My original test for the smoke using Particle Playground before looking around for stock footage. Didn’t think this looked realistic enough at all.
Compiled scenes of Envy’s burning skin.
The feathered masking for smoke under Envy’s hands.
5-step-build-up of different smoke layers.
Similar mask set up for this shot only that the upper mask’s position raises when the smoke needs to increase increase.
An example of one of these other sources. Here is one originating from one of the flaps of skin on the actor’s cheek. The lower mask crops the stock footage completely and the upper one gradually reduces the opacity of the wisps as they get higher. This will be repeated for most of the predominate folds over his face.
The application of my first smoke trail seems to be visually successful. Will just have to repeat this step many times for each shot to get a sense of multiple smoke sources.