Stargate Atlantis Pilot

Almost every location had a digital extention, or was entirely created at Rainmaker.

The Hole 3D  -  Feature

On the shoot day our rollercoaster location was fogged in, we could not even see the far end of the structure.

We surveyed the structure, shot textures, then built a beautiful CG model.

 The L Word - Final episode of final season.

Actors on greenscreen with a slightly  stylised Los Angeles composited into background.  I was very happy with the greensreen shoot and how well we were able to key the hair.

The Hole 3D  -  Feature

Dane has to confront his abusive father, and ultimately defeats him by destroying the nightmare world his father created.

Actors on a floating platform on a greenscreen stage.  This entire scene was meant to be shot on black with a very basic background, but we came in so under budget on the other VFX shots that we were able to add this entire scene for the existing budget.

Stargate Atlantis Pilot

Small set on greenscreen stage, followed by the city of Atlantis leaving Earth for the last time.

Damaged Care

We shot textures from a boat off shore, and projected them onto a very simple CG model. Very quick,  very easy.

Santa Clause Two

Combination of greenscreen comps and straight cinematography in front of a 90' long translite.

The translite was made from our digital backgrounds.

Slapshot - The Junior League

Basic crowd extensions built by shooting the fans section by section. Final comp was projected onto basic geometry to add parallax to the camera move.

Stargate Atlantis Pilot

Background was shot as tiles, with the move added in post. Burning hive was built from a painting of the structure comped with stock file and smoke elements.

Other Side of Heaven - Feature, Disney

Plates were shot in New Zealand dry-dock. Waves were textures from stills shot off the Santa Monica Pier and modeled in Maya. 

Fallen - Miniseries

Fallen Angles battle it out amongst we puny humans.  City in BG was painted up from stills and projected onto simple geometry, the pillar of fire was an element that we replicated to get the required length.

Slither - Feature

2D paintings and photocomposites by Invisible Pictures.

The Hole 3D  - Feature

A mysterious and slimy hole turns out to be a car's exhaust system.

Slither - Feature

Window backgrounds were a fully CG build created by the pre-vis team in record time which were not greenscreened but digitally projected.  The SUV impact shot was greenscreened. 

Material was pulled from DVD, I did not have the driving scene as full res files, so the quality is disappointing.

Fallen - Miniseries

Actors were shot on greenscreen with a computer controlled flying rigs. Backgrounds were shot as stills and projected into simple geometry for parallax in the camera moves.

Great fun with a great producer, Ed Bates.

Stargate Atlantis -  Pilot

Pre-vised by in house team, then realised by Rainmaker artists.

Coors Lite  -  Commercial

Miniatures and CG interacted to create this music-induced avalanche.