I was DNEG’s Matchmove Supervisor on Ant-Man and the Wasp

by Kathir Manickam

Last modification: 27 Aug, 2018
Duration
8 mins

My name is Kathir. I’ve been working at DNEG for 3 years. I had the opportunity to supervise the camera tracking and body tracking teams for a car chase sequence in Fast and Furious 8, and that experience landed me a spot on the Ant-Man and the Wasp team – what an incredible journey! 


 

 

Hi, I'm Kathir

Matchmove is the very first department in the pipeline for adding CGI to a live-action plate, so my team's role on Ant-Man and the Wasp was to camera-track the plates, following the exact camera specifications used when shooting. Once our camera track was completed, we'd move on to complete any body/object tracking for the scope of CGI required, before handing this over to the Post-matchmove departments. 

Once the matchmove is done, it's passed down to the Layout department where they gather the other assets to publish to other departments. 

 

 

What I had to make sure of 

All the matchmove submissions from my team had to flawless and they needed to all be properly ingested before handing them to other departments. 


 

I worked most closely with my Digital FX Supervisor 

My Digital FX Supervisor briefed me on which 3D elements needed to be tightly camera tracked and body tracked, so we could hand-off exactly what the other departments required. 

My favorite shots

All the car chase shots in Ant-Man and the Wasp are my favorites. 


"...after seeing the final outcome in the theater, I felt like the hard work paid off."

 

Tracking Frazier lens shots really challenged me

Tracking Frazier lens shots was a good challenge. The output from the Frazier lens is incredible because of its massive depth of field, which allows the foreground and background of the image to be in focus and detailed. But dealing with this in Ant-Man and the Wasp movie was tricky because most of the shots were filmed close to ground level in order to add CGI shrunken cars and all of them were shot with heavy camera motion, so we had to pay more attention in compensating Rolling shutter. But after seeing the final outcome in the theater, I felt like the hard work paid off.

Matchbox-scale van in Ant-man and the Wasp courtesy of VFX studio, DNEG
Matchbox-scale van in Ant-man and the Wasp courtesy of VFX studio, DNEG


Our remote team were the true superheroes 

An unexpected bunch of shots came in and we were asked to process them quickly. Every department had their own tight schedule and we had a lot of pressure because, being the first 3D department to start the process, we have to make sure everything is ready in time with no delays. I can say without a doubt that without the help of our remote matchmove team in India this wouldn't have been possible. 


"Communication is essential to good working relationships, where each individual is working towards shared aims and objectives."

 

Healthy working relationships matter

I’m especially proud of the communication I had with my remote team. Communication is essential to good working relationships, where each individual is working towards shared aims and objectives. 

I also have good working relationships with other department supervisors and production people and on this movie, in particular, it made our work very smooth and straightforward. 

 

 


"Maya is an essential software. You need to know how to use it."
— VFX Supervisor on Ant-Man and the Wasp, Alessandro Ongaro
 

Get started with Maya now, FREE for 30 days 

 

Who else made up the VFX team on Ant-Man and the Wasp and what exactly did they do? Hear from the other 3D artists who pushed themselves in big ways for Marvel's minute superhero:

Alessandro Ongaro, VFX Supervisor
Daniel Axelsson, Modeling Lead
Remi Cauzid, Creature Supervisor
Environment Lead, Matt Ivanov
Layout Lead, Rick Curts
Lead Animator, Evan Clover
Animator, Francois-Xavier Nhieu
Creature Lead, Dameon Oboyle

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