Ponsse – Scorpion
- Clients: PONSSE & KLAFFI TUOTANNOT
- Production Company: TROLL VFX
Troll produced a short and flashy trailer for Ponsse and their latest heavy duty harvester called Scorpion. I have no idea about forestry but the machine certainly looks like it can do it’s job.
I did most of the compositing work under the direction of our AD Jussi Lehtiniemi, with some timely help from Joonas Yliruusi for the Scorpion logo and the flares. Modeling, initial shading and lighting was done by Erkko Huhtamäki while Samuli Torssonen handled the final tweaks and rendering. All of the animation work was done by Mikko Monto, the graphics on the surface by Vesa Jokinen and the whole production overseen by Molla Karjaluoto.
While the renders that came out of V-Ray were pretty good as they were, I spent a lot of time in Nuke tweaking things with all the tools at my disposal. Iterating is much faster when you don’t have to wait half a day for the renders to finish.
Those orange glowy things? A way too complex hack done in comp using some weird combination of relight specularity and ambient occlusion. But it works, and that’s all that matters.
The depth of field and motion blur were done both in render and in comp, depending on the shot. In closeups like this, it was a no brainer to let Nuke handle the out of focus effect.
Point position and world normal passes are some of compositors best friends. I don’t think there’s a single shot in the trailer that I didn’t add a bit of extra rimlight with Nuke’s relight feature.
To create the graphics swooshing over the machine’s surface, I picked up pieces of the model and unwrapped them properly so Vesa Jokinen could draw and animate the effects entirely in Nuke. Texture resolution proved to be a bit problematic since we needed some truly huge animated images sequences to cover the needed areas and any animation is an art that requires fast response times.
Another pass you use as a compositor all the time is the multimatte. Having a wide range of mattes to choose from gives you a great freedom to tweak and fix things after the render is finished. In this particular shot, you could actually see the rest of the machine through the grill but thanks to the mattes, I could easily get rid of the problem.
Mean hero shot full of angry flares. Lots of beziers and ramps in this one, masking some areas in shadow and lifting up others to create the final look.