LOVE GAMBLING WITH NEW STUFF.
PERSONAL COMP SHOTS
I worked on some new personal comp projects to explore new workflows and get more comfortable with tools used in production. I used the ‘stamps’ system to connect all elements from a central control node — a setup I noticed is becoming more common in 2D pipelines.
It’s not physically accurate, but renders much faster. Lots of Nuke scripting involved. I learned a lot (and had fun) figuring out how to make things work — even if it’s not always the most efficient or production-standard approach.
This shot is full CG. I handled every aspect of the shot, from asset layout to final comp. Lighting was optimized using a dome light with HDRI for ambient bounce and directional key lights for shaping. Rendered in AOVs and completed all post-processing in Nuke, focusing on atmospheric depth using Z-pass-based fog, lens distortion, chromatic aberration, and some subtle touches to enhance overall realism and scale.
This shot was an exercise in camera projection, built entirely from 2D photographic elements sourced from Google. I projected the images onto simplified 2D cards to create parallax and depth, allowing for a virtual camera move within a static scene. This setup was assembled and rendered in Nuke, with additional work on edge blending, light wrapping, and atmospheric elements to integrate the layers more convincingly.
This shot, inspired by The Creator, expands on the previous projection setup. I used a 2D plate sourced from Pexels and created a camera mapping setup to simulate depth and allow for more dynamic light interaction across building surfaces. The glowing laser element was manually created and animated to respond to the scene's geometry, though in a production context this would typically be handled by the CG department with higher-fidelity assets. The compositing was done in Nuke, with attention to light wrap, glow treatment, and parallax to help sell the illusion of dimensionality.