This was a duo project with Ada Lin as both our actor and helping with filming and set dressing. It was a fun (albeit tedious) journey that spanned 10 weeks from concept to edit (4 weeks for storyboarding and filming and 6 weeks for cg integration).

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We made sure to reduce depth of field and motion blur on shots that were to be tracked, to minimize getting any problems tracking and integrating the cg elements down the line.

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Each shot that included cg was tracked with 3dEqualizer. We were using a zoom lens so some shots had to be tracked with some trail an error by eyeballing the focal length used in the shot. 

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A 3d environment was made to catch shadows and reflections. Textures were stitched and projected onto the objects. A hdri was taken at the filming location for lighting and reflection of the room. Lastly, a crude 3d digital double was created and animated in the ballpark of the actor's movements, again with textures projected for shadows and reflections (especially in the water).

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Probably the most time consuming part of the process was the rotoscoping. The base roto was tracked with Mocha in Premiere. The rotos were then adjusted by hand accurately for every shot with cg integration. Finally the mattes were brought into Nuke and were used to comp in CG elements.

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I tried to stay away from fx as much as possible due to the tight schedule we had - hence the waterfalls used a flat texture. A ripple solver was converted to a normal map in Houdini for one of the later shots where the boats were sailing across the water. Flocking birds were animated procedurally with a combination of MASH and a base flapping animation. Some simple mist sims were also made in Houdini and rendered with redshift. All other cg elements were rendered with V-Ray in Maya. 

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Software used: 3D Equalizer(camera tracking), Permiere Pro (character roto), Speedtree (Trees), Substance Painter (procedural texturing of rocks), Houdini (simple sims and rock modelling), Maya (other 3d assets and rendering), Nuke (compositing).