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Chris Xiao, one of our talented graduate, demonstrated his flexibility while working on his title shot.
Even before we received the matchmove data, Chris Xiao manually tracked and placed the graffiti elements into the scene. This wasn’t just a workaround; it was his ability to adapt and problem-solve on the fly.
In many studios, even if you’re hired specifically as a compositor, you’ll often find yourself stepping into roles like roto, paint, and tracking. Why? Because sometimes the proof of concept needs to be shown to clients long before these outsourced tasks are ready. In these moments, the task falls to you, the compositor, to ensure the project keeps moving forward.
Knowing the major aspects of compositing, along with skills in roto, paint, and tracking, not only boosts your confidence but also opens up more opportunities - especially in smaller studios where they often look for what I call a “Comp Generalist.” (I hesitate to say 2D Generalist because that might imply a broader skill set, including matte painting.)
In this particular effort, Chris focused his tracking on the exact areas where he planned to project his elements. As it turned out, his manual tracks were precise enough to complete the shot.
It’s crucial for students to be exposed to a variety of challenges: shots with matchmove data provided, and those without. Sometimes only parts of the provided data are usable, and other times, an updated version of the layout or camera can misalign everything you’ve already done.
At Alpha Chromatica Education (ACE), we don’t shy away from these real compositing problems. We dive into them headfirst, ensuring our students are prepared for the realities of the industry.
P.S. What’s been the most challenging aspect of a shot you’ve had to complete without all the final data?