VFX supervision on-set lasted 3 days of filming. We had to create different sequences that had to contain CGI integration. We had to develop photogrammetry for some particular shots to give them the necessary and adequate realism, using the lighting and shadows from HDRI. Every shot had to be made with precise care; a single mistake could cost a lot of time in post-production and on the set. With the Director of Photography and the Director, we could only make decisions in seconds to indicate the best way to execute the work.
The first sequences used a Bolt cinema robot camera to get the same length and seconds to repeat the shots several times without errors. Even so, in post-production, they had to clean the plate, retiming, to perfectly unite the same actress with her performances that went in different directions. The same thing had to be repeated once they entered the camera lens again.
We work with a set between Flame, Nuke, and Davinci Resolve to get the job done. Most Flame-running Linux CentOS was used on the production set to verify that all green screens were correct. Post-production was handled between Nuke and Davinci at ACES Colorspace. Two commercials culminated in a month of work under Lacus Post and a collaboration with Colorbars LLC.