Credit: compositor

33 shots of unwanted element removal, including crew reflections, store and metro signage replacements, and keying and compositing for interior car scenes.

Credit: stereoscopic roto artist

Ah, the golden age of stereoscopic conversion, when everyone wanted to wear 3D glasses in the cinema (glasses on top of my own glasses, in my case). We worked on about 35 shots for the film, creating roto for the 2D to 3D conversion. I remember spending two weeks on a single shot, layering every depth element, including some very challenging hair roto. Good times.

Credit: stereoscopic roto artist

I worked on approximately 32 shots for this film conversion. We had to deliver After Effects layers to the client, with every layer in the correct depth order, layer subtractions, and the corresponding animated splines. The roto was challenging, but keeping layers in order during export to After Effects was a pain. Every time we had to review and re-export shots, the process started again.

After a while, I developed custom After Effects JavaScript to order and organise the layers without human intervention. It became our secret weapon for efficient delivery on every stereoscopic show we worked on afterwards.