I was responsible for look development, and the creative direction of this piece Directed by Jason Human and 3D by Jason Mackay. The entire workflow was 4K. Thanks to a robust pipeline and some great workflow principles we have been diligently following from lessons we learned when we moved from SD to HD we hardly felt the jump from HD to 4K.
The sequence as seen in the documentary, it was used as a fly through map of the war zone showing each wasps location.
The animated sequence without the VO and Wasp top and tail footage
Some early look dev passes. I painted and shot hundreds of pieces of different paper and paint textures. I asked local artist Candice Robinson to lend us her painting style which was perfect for the look and feel of the textures.
Scott Robertson created some fantastic design work on the logo and the flags for each wasp.
I used Fusion to comp all the 3D passes and my painted textures and scanned papers and grunge as well as used some advanced world space tools to create fog, depth of field as well as adding in the motion blur with the vectors and apply some extra texture using the UV passes from 3D. The above was an early look dev that I loved but the clients were after a cleaner 3D look.
Some models we generated to populate the scene also testing the Toon shader.
This was one of the first look devs I did to win the clients approval on the grunge and 3D low Poly look.