Not only do they take care of important design details such as consistent coloring and mixing, they also use technical means to optimize film scenes aesthetically. These objects, if they make it into the picture, must be removed and retouched by digital compositors.īut image processing by DCs usually goes far beyond removing unwanted objects. It is not uncommon that a coffee cup is left on the set during the lunch break. In fact, all kinds of technical equipment like cables, tracking utensils or scaffolding lie and hang around. For this purpose, 2D and 3D camera tracking techniques are used to record the exact camera movement.įilm sets are usually not as clean as they later appear on the screen. how to position objects in rooms optically correctly. In this context, it is important to know how good matchmoving works, i.e. Here, DCs use so-called rotoscoping and keying techniques to separate people and objects from their backgrounds and place them in other environments. In VFX productions, scenes are often not shot before a final setting, but rather in front of green or blue screens. The goal is to create the perfect, true-to-life illusion. Picture by picture, the details and the effectiveness of the image are worked on. From animated characters to spectacular stunts or explosions, the aim of CG compositing is to make the virtual characters or effects appear as realistic as possible. An important task of DCs, for example, is to integrate computer-generated content into the film scenes. Often a VFX scene consists of different elements, which are combined to a realistic looking picture by Digital Compositors.ĭigital compositors' field of activity is diverse and creative in both technical and artistic terms. This is especially true for productions that rely on visual effects (VFX). At the end of this process, digital compositors (DCs) are responsible for the final images of the film. Before you can see them on the big screen, shots are usually edited many times. Please ask us for the possibilities.Whether light, mask, costume or setting, film scenes are usually composed down to the smallest detail. Our Amsterdam studio features remote connections for clients to follow along this process in real-time. Making sure digital matte painting work can have quick iterations from compositing to grading which offers client fast feedback of the end result. Our integrated VFX department features CG, Compositing and grading teams in the same location for optimal collaboration between the departments. Sometimes working in collaboration with the CG team for projections on 3D geometry so the digital matte paintings get the proper depth and perspective when the camera moves. Our compositing department takes care of more digital matte paintings. We are often involved early on in planning and scheduling of projects to make sure the most efficient choice is made. We like to think with creative, DOP’s and directors to make sure the best approach is chosen for the creative idea, time and budget. Postoffice looks for the best and most efficient solution to tackle each shots we do. Whereas Enbridge uses mostly compositing, our Floriade ad features a strong combination of CGI and compositing for the digital matte paintings. Examples can also be found in our Enbridge commercial for which we did a bunch of environment work to enhance the shots and sometimes even create skylines from scratch. To make a shoot that was shot in the Netherlands feel like it’s in France for example by adding mountains in compositing. That’s where digital matte paintings can come into play too. Sometimes shoots can’t take place in the desired location because of budgetary or logistic reason. We often make environments snowy for Christmas commercials or sunny for other ads where the weather wasn’t the best on the shooting day. Postoffice has years of experience in creating digital matte paintings. Digital matte painting is the process of altering the environment of shots in compositing.
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