Playing with quotas

One of the great originality of this project was that we could paint over the images of the end of the production chain (at the time of final assembly of images at compositing sent by Indians from TATA). One could thus improve the image by adding details, add an "OL" need to change the composition and sometimes even the light and atmosphere of the visual. Luckily much of the staging of Jérôme Mouscadet included many static shots, allowing the necessary adjustments; However, it was occasionally re-project work in camera mapping when the shot was in motion. Of course the ideal would have been to adjust all images of episodes for maximum homogeneity. But the work was already daunting enough, we therefore imposed quotas to stay focus and go up in delivery. Thus, upstream of the work of teams, I was led to make a preselection plans to retouch by episodes, according to the quotas we were taxed. Then the compositing team under the supervision of Géraldine Cugnière attacked the plans episodes before sending it to us through tools automating procedures. Similarly once the images adjusted by the team of painters, they were automatically referred to compositing into separate layers; allowing the team to focus almost exclusively on what the artistic aspect. So as a production designer, I had to deliver the painted backgrounds and follow parallely the general aesthetic aspect of compositing.. Of course we had to work in production time 3D series, it was therefore not easy, but I remain very proud of the experience and results obtained ...