Mike C. Compositor.
Mike is fully competent with NukeX, Shake, PFTrack, Silhouette Roto, FCP, Color, Twixtor, and Photoshop; he has his own kit on a Mac Book Pro and has vast experience in compositing & HD DOP projects for Viral & advertising work for a range of London agencies including LexHag, Unit, Rushes, McCann Erikson, Bluff Hampton, Dare Digital, DAB, Pretzel, Bikini Films, Cattleprods, Upset Media, Rokkit + Sponge.
Set extensions and shot creation from rushes to assemble various scenes. - LexHag
Added rain to both deep night and daytime shots using Nuke to track, using layered cards, and made wide panoramas of rain with tons of rotoscoping, also adding floor rain where needed. I comped most of the whole scene. - Rushes
Nuke CG and 3d Camera Tracking of Damage on spitfires for this realistic BBC drama. – Invisible Arts
Supervised the Nuke comping for the Cannes entry short film. – Tessilato
Complex matting & colour correction with Shake, including killing burnt highlights on a lawn, along with roto work in Silhouette.
Managed and comped over 120 shots with a small team and did all data handling. Retiming with Twixtor, roto and paint work in Silhouette.
Worked on 12 wire removal shots in Shake and data handling with PFPlay.
Worked on 3 in-flight green screens. Shake. – Senate
Supervised and comped over 54 2K green screen shots with a fellow Shaker and did the data handling with PFPlay.
Managed and comped 15 shots in Shake and data handling.
Comped several 'gloop' shots, split a body and head open, and did all data handling. All work was 2D. - Glimpse
Trailer shots, Shake. – Peerless Camera Company
Worked and supervised on a range of shots with 2 CG artists included rock falls and the end sequence in Shake, using PFTrack to solve various complex problems on these and other shots. - Peerless Camera Company
Worked on the Dr Manhattan look with Shake and PFTrack before the project was shelved. - PreVis work
Created and executed the main titles and supervised the credits, working with the director. – base black
Lead compositor on Shake with a team of 3 people. Various retimes with PFTrack, background replacement shots and 13 layer crowd duplication shot for the mass exodus – base black
Comped a single shot with a fellow Shaker putting blood on bodies, beds and clothes. – base black
Lead compositor on Hagrids Hut sequence with his pumpkin patch and all the crows. Comped various CG and blue screen crows, retimes, rig removal and set extensions. – base black
Lead compositor working on various flaming priest shots in the Balans Forge sequence. – base black
Helped set up the project and recruit with the Producer a hand-picked team of 2D and 3D artists. Comped and supervised the initial 'proof-of-concept' shots, supervised a team of 3D artists and 2D roto/paint artists.
Henson's Creature Shop Worked on a complex split-screen and stabilising shot for the trailer. Polished the shot for the final film. - Directed by Jan de Bont
Worked on 2 detailed and creative shots with 'the body in the wall', adding all lighting and explosions in 2D. - Directed by Olivier Dahan – base black
Senior Shake artist on various background/sky replacements. Also had to kill all highlights in a moving 'car-through-water-in-
Henson's Creature Shop Senior Shake compositor on various shots over about 3 months. -Directed by Kirk R. Thatcher
Sole Shake artist with 12 green screen shots. – base black
Shake compositor on various submarine CG shots. - Directed by David Twohy – Double Negative
Shake compositor on the NASA suiting up sequence, as well as breaking glass shots and the hospital scan sequence. - Directed by Peter Hewitt – Double Negative
Peerless Camera Company Lead Shake compositor. Worked on the Puppet sequence adding 2D volumetric lighting to 30 shots from 5 different camera angles & handling continuity. Also did a complex – Pinocchio kiss shot and helped supervise and comp the white-rats-pulling-carriage sequence. - Directed by Roberto Benigni
Shake compositor for various car blue screen shots, set extensions and background extensions. - Directed by Jean-Marie Poiré – Visual Factory
Henson’s Creature Shop Lead compositor in charge of the Jacks Trial sequence with crowd duplication and set extension. - Directed by Brian Henson
Directed by Jean-Jacques Annaud- Das Werk, Dusseldorf Shake compositor on various shots. Worked solo on Kulekov's shooting for 10 days for a great show reel piece. Matte painting set extensions and binocular shots.
Peerless Camera Company Senior Cineon compositor on the helicoptor-drop-off-on-K2 sequence. Various set extension, blue screen and snow addition shots. - Directed by Martin Campbell
Cineon compositor. Total creative control over various creative retimes. - Directed by Paul McGuigan
Cineon compositor. Various comps, creative concepts and satellite shots over. - Directed by Jon East
Cineon compositor. Co-worked with a fellow Cineon artist on 4 B/W shots for a beautiful looking film. Had total creative control over the comping. - Directed by Billy O’Brien
Cineon compositor. Worked on the Tiger, German forest attack and Rome arrival sequences - Directed by Ridley Scott
Cineon compositor. Work on 'the look and feel' of the cats and dogs. - Directed by Lawrence Guterman
Cineon compositor. Various rig-removal, blue screens and mood making shots & co-removing sand footsteps from a 720 degree camera move on a beach. 3 months work. - Directed by Anand Tucker
Cineon compositor. Also handled all the I/O, log-lin conversions of the Cineon files and helped on a huge crowd duplication shot. - Directed by Brian Gibson
Cineon compositor. Various blue screen shots, rotoscoping, multi layer animal comps, talking mouth comps and CG plane additions as well as a singing mice exit wipe. - Directed by George Miller
Head destruction & crushing, plus thumb re-animation using Nuke and cards and comping tricks, plus bullet hits and dust general comping. - LexHag
Build a Leeds/London hybrid card cityscape using NukeX (with Atomkraft for reflections) for various handheld and dolly shots, lots of tricky keying too.
Worked all the shots together as a set. – LexHag
Cineon compositor. Worked on 2 shots including rotoscoping. - Directed by Stephen Hopkins
Rain addition and storm sky replacement in powerboat sequence using NukeX, camera & cards. I dealt with the whole scene.
Set extensions and crowd duplication along with various technical fixes and rig-removals. Various whole scenes I worked on together as a set. - LexHag
Added & created the interior of a burning barn using NukeX to camera track handheld footage to add in cards of flames & smoke, 30 shots, all worked as a set. - LexHag
Various Nuke projection fixes & set extensions.
Also joining camera moves together to create single shots with projection & basic modelling, then painting frames together to bridge actors performances. - LexHag
Complex lens flare removal from backlit window shots, rig removal - LexHag
NukeX tracking and building of set extensions for various scene setting shots.
Also on-set supervision, shooting extras, & nodal camera work for the Nuke builds. – Painting Practice
Tracked in HUD overlays on glass in the taxi sequence. – Painting Practice
Comped various CG shots with helicopters and bomb blasts. - Rushes
Various head shots, brain splatters, split-screen shots, all in NukeX using various camera & card techniques – Shadow Jack
Various 3d tracking shots & Shake comping – Senate
NukeX for various nature 5k Stereo shots of butterflies, & macro caterpillar blue screen comps. - Dimenxion
Pre-production work, onset supervision and compositing with Nuke. CBBC series - Retro Juice
Created a new title sequence for this documentary, using some very old film titles and re-typesetting them with Photoshop and Shake.
Lots of laid compositing for a car show display, plus various NukeX tricks to deal with CG - Unit
CG comping and Nuke projection techniques to fix dodgy CG of spinning globe worlds - McCann Erikson
Created card car interiors using NukeX to do driver removal on moving shots, then comped all back together, also comping new CG feature updates to the car like wheels, lights etc. - Rushes
Nuke Compositing for TV and web information broadcast - ChromeTV, McCann Ericson
Nuke CG and element compositing for the latest Guinness Ad – 'There's Magic in the Dark’ - OneOfUs
Extensive creative retiming for these ads using Shake and Twixtor.
Comped 4 viral ad 'cookies' for the Pepperami Flanimal campaign, and supervised the shoot.
Low budget viral ad for the Green Party.
Responsible for the look and comping of 3 viral ads for the Pepperami noodle campaign. Shake.
Background generation and time-lapse layered blue screen 5k stereo comping in NukeX - Dimenxion
Mike C.'s Software Skills
Mike is a highly advanced Nuke Compositor.
Soho Editors played a massive role in the success of Channel Five's recent postproduction build project.
Soho Editors always provide us with high-calibre, enthusiastic graphic designers - often at extremely short notice.
Ever since I signed for Soho Editors 3 years ago I’ve had nothing but positive things to say about them, from the quality of work that they get me to how the whole team are as people. The team really take care of you, and although it’s a massive agency they really have a personal touch and make you feel comfortable with every aspect of what each job entails.
You also really believe that they care about you individually, I remember telling Emma that I loved Football and the next week she’d got me on a Nike football film which I was buzzing about. I think it’s those personal touches that really make them the best.
I can’t recommend them enough. I hope I’m with them for many years to come.
We’ve been using Soho Editors for a while now, and the change-over to remote work was seamless, very helpful agency and amazing talent, I can only recommend.
We’ve been using Soho Editors for a number of years. Throughout this time, they have always provided excellent talent. Since going remote, they continue to assist us, even at very short notice. Such a friendly and accommodating team!
I became aware of Soho Editors in 2005 when I got my start in Production. They were a favourite then but now in 2020 and especially in these tough times, they have become an industry staple. They seek out to find the best Remote Editors for my briefs. It's always worth getting in touch. With an impressive rosta of veterans and new talent, I’ve never been disappointed.