- Directors: MIIKKO OIKKONEN AND TEEMU NIKKI
- DOP: MIKA ORASMAA
- Production Company: FISHER KING
- Visual Effects: TROLL VFX
- Color Grading: JAMES POST
Nymphs was an ambitious Finnish TV-show about three mythical nymphs living in the modern world. Being a drama mixed with fantastical elements, the series required quite a bit of VFX work which were all provided by the team at Troll. We did about 350 shots for twelve episodes, which was our biggest undertaking since Iron Sky.
My role varied depending on what needed to be done at the time, from conforming work to tracking, compositing and creation of minor 3d-elements. It certainly never got boring and some of the shots were a lot of fun to work with.
Admittedly, vast majority of the shots were of the fairly mundane kind. Screen replacements, inserting adverts, removing unwanted items from the shot and so on, the kind of things you’d never notice. Below is a small selection of the work I did, mostly from shots that are a bit more obvious with their effects.
The series had a small number of fairly epic scenes, which are pretty much unheard-of in the Finnish television. The mattes for these two were both done by Jussi Lehtiniemi and comped with the live plate by Vesa Jokinen, while I provided the simulated smoke elements created with TurbulenceFD. Smoke is probably the most common use of fluid sims and relatively simple to create, so shots like these didn’t cause any major headaches.
Some shots required inserting tattoos on the actor’s skin, which turned out to be a bit tricky. Even with decent markers it’s a challenge to get a solid track from skin that’s constantly moving and stretching, not to mention the light which needed to be matched precisely.
So what about when there’s no tracking markers at all? You crank up the image until it looks like a bad disco art piece and hope the skin of the actor isn’t without blemishes. Moles are a compositors best friend in a case like this.
I got to do a bit of greenscreen and compositing work as well, of which these two shots are an example. The background matte was done by Jussi Lehtiniemi, while I did everything else. Tracking markers were pretty much nonexistant in this one, which meant a lot of trial and error before I finally nailed the camera movement.
This shot was particularly challenging due to the actresses dress being translucent, which made keying a labour intensive process. Luckily a solid track was easy enough to extract thanks to a very slowly moving camera and plentiful tracking points.