Mervyn New Visual Effects
× SHOWREEL TOOLS CREDITS CONTACT IMDB: Mervyn New Linkedin: Mervyn New
Thumbnail Timecode Film Description
Florence Foster Jenkins 00:10 Florence Foster Jenkins Sole artist working across both 2d and 3d to deliver all the interior Carnegie Hall shots of the film. Modelled, textured, lit and rendered a CG Carnegie Hall. Generated sprite crowd from individual filmed crowd elements shot on bluescreen with the use of python scripting in Maya. With all the different camera angles, eyelines and crowd actions there was a total of over 52000 individual sprites! In order to handle this much work and data I came up with a number of python tools that allowed me to proceduralize the keying and categorization process of sprite elements as much as possible. I also created some python tools in Nuke to allow me to swap out individual people in the sprite crowd with other compatible sprites. I did the final comp in Nuke.
Florence Foster Jenkins 00:26 Florence Foster Jenkins Sole artist working across both 2d and 3d to deliver all the interior Carnegie Hall shots of the film. Modelled, textured, lit and rendered a CG Carnegie Hall. Generated sprite crowd from individual filmed crowd elements shot on bluescreen with the use of python scripting in Maya. With all the different camera angles, eyelines and crowd actions there was a total of over 52000 individual sprites! In order to handle this much work and data I came up with a number of python tools that allowed me to proceduralize the keying and categorization process of sprite elements as much as possible. I also created some python tools in Nuke to allow me to swap out individual people in the sprite crowd with other compatible sprites. I did the final comp in Nuke.
Florence Foster Jenkins 00:39 Florence Foster Jenkins Took a 2d matte painting of New York and rebuilt it in Maya so that it could be lit and rendered for multiple shots. Composited the final shot.
Spooks: The Greater Good 00:57 Spooks: The Greater Good Built an accurate model of the Gaiety Theatre from the Isle of Man and also the vehicles that interact with the explosion. Built a lot of geometry for the cars and buildings in the plate so that I could render out interactive lighting passes. Composited all the separate elements into a final shot.
Spooks: The Greater Good 01:06 Spooks: The Greater Good Built an accurate model of the Gaiety Theatre from the Isle of Man and also the vehicles that interact with the explosion. Also built a lot of geometry for the cars and buildings in the plate so that I could render out interactive lighting passes. Composited all the separate elements into a final shot.
Trance 01:10 Trance Sole artist on this shot working across both 2d and 3d. Built a CG head and used both ncloth and particle fluid simulations to explode it. The 3d elements were lit and rendered in Maya with Mental Ray. The original head was rig removed and the CG head comped along with a muzzle flash and gun smoke.
Trance 01:11 Trance Sole artist working on Vincent Cassel's blown off head using both 2d and 3d software. Worked up a CG brain model in Zbrush which was based on a latex prosthetic. I did an object track on the head and then tracked individual parts of the face which I used to wrap deform the geo to match Vincent Cassel's facial movements. I then comped the brain into the final shot along with some blood elements.
Trance 01:18 Trance Sole artist working on Vincent Cassel's blown off head using both 2d and 3d software. Worked up a CG brain model in Zbrush which was based on a latex prosthetic. I did an object track on the head and then tracked individual parts of the face which I used to wrap deform the geo to match Vincent Cassel's facial movements. I then comped the brain into the final shot along with some blood elements.
Harry Potter and the Deathly Hallows: Part 2 01:20 Harry Potter and the Deathly Hallow: Part 2 Composited layers of lens flare elements and flashes to create Voldermort's spell effect. Lots of animated blurs and noise displacement was used to make the spells feel more aggressive.
Everest 01:24 Everest Built an accurate mountain model of the Everest region of the Himalayas by using photos taken from helicopter and photogrammetry software. Recreated the actual view you would see from Camp 1 on the Everest route. Textured, lit and rendered the geo to match the plate. Set up the initial comp with mountains to be passed on to other compositors
Everest 01:31 Everest Used photogrammetry to get the basic shape of the icefall and then sculpted extra detail using Zbrush. Composited the mountains, icefall and helicopter into one seamless shot.
Trance 01:42 Trance A test shot using actual MRI data. A volume was generated in Houdini which was tracked to James McAvoy's head and then a secondary piece of geometry was animated as a way of revealing the MRI data. Composited this as a test.
Black Sea 01:48 Black Sea Environment artist for all the underwater shots in the film. Generated the terrain using Maya, Terragen and Zbrush and then rendered everything with Arnold. For this shot I also built the submarine and wrote a python script to distribute rocks over the terrain. Setup the comp to be passed on to other compositors.
Black Sea 01:54 Black Sea Environment artist for all the underwater shots in the film. Generated the terrain using Maya, Terragen and Zbrush and then rendered everything with Arnold. For this shot I imported the submarine as an Arnold standin and lit and rendered the CG. I also comped the final shot.
Will 01:59 Will Sole artist for this shot apart from any roto or camera tracking. Generated sprite crowd from individual elements of crowd on greenscreen. To populate the stadium I used particle expressions in Maya to affect density and distribution. Also built CG banners, flags and camera flashes. Composited the final shot making use of Nuke's 3d environment to add flares and images to the football screens. Rebuilt the original lens flares from the plate to be comped over the crowd.
Trance 02:17 Trance Sole artist working on this shot across all aspects of 2d and 3d. The burning car was filmed closeup but the shot needed to be wider, revealing an industrial dockland environment. The environment was created using a mixture of CG and 2d matte painting elements placed on cards in Nuke.
Trance 02:26 Trance The industrial dockland environment was created using a mixture of CG elements which I modelled and rendered along with bits of matte painting placed on cards in Nuke.
Hyde Park on Hudson 02:29 Hyde Park on Hudson A partial ground floor house set was built in the UK and I was tasked with building a CG first floor and roof extension. Modelled and textured the house using an extensive library of photos of the ground floor set. Art department also provided drawings of what the upper half of the house should look like. Lit and rendered the CG using Maya and Mental Ray and then composited the final shot in Nuke. Wrote some python scripts for Maya that allowed me to procedurally cover the roof in many individual roof tiles.
How I Live Now 02:39 How I Live Now Sole artist working on this shot. Layered up matte painting and live action smoke elements on cards in Nuke's 3d space. Built and rendered a CG Chinook.
The Lady in the Van 02:46 The Lady in the Van I was the VFX Supervisor for this film and this is one of the many shots I also composited. I created 3d previs for this sequence during preproduction to gauge the direction the director and DP wanted to take this. The final shot takes reference from Titian's "Assumption of the Virgin" and is a mixture of CG and greenscreen elements. You can see a breakdown of this in more detail here: The Making of "The Lady in the Van"
Florence Foster Jenkins 03:05 Florence Foster Jenkins We filmed this shot behind the Brixton Academy in London but the actual location where the film was set was New York. So following prinicipal photography I got an accurate camera position calculated so that I could take photos of a street in New York from exactly the right camera height and angle. The photos were also taken at exactly the right time of day so that the lighting would match the plate. This worked so well that I was able to just comp the New York street photos on top of the plate with just a little bit of roto and grading. For the far background I modelled, textured, lit and rendered CG buildings in Arnold and comped it into the final shot. Additional greenscreen crowd elements were used in the far background.
127 Hours 03:23 127 Hours Sole 2d/3d artist on this shot. For the film I was tasked with coming up with a solution for all the canyon wall set extensions. You can find out more about this from a talk I did at NAB: fxguidetv #113
127 Hours 03:26 127 Hours Sole 2d/3d artist on this shot. All nParticle and nCloth sims were done in Maya and final comp in Nuke.
Florence Foster Jenkins 03:32 Florence Foster Jenkins Sole artist working across both 2d and 3d to deliver all the interior Carnegie Hall shots of the film. Modelled, textured, lit and rendered a CG Carnegie Hall. Generated sprite crowd from individual filmed crowd elements shot on bluescreen with the use of python scripting in Maya. With all the different camera angles, eyelines and crowd actions there was a total of over 52000 individual sprites! In order to handle this much work and data I came up with a number of python tools that allowed me to proceduralize the keying and categorization process of sprite elements as much as possible. I also created some python tools in Nuke to allow me to swap out individual people in the sprite crowd with other compatible sprites. I did the final comp in Nuke.