L'Ombre
Compositing • Color Grading • Tracking • Rotoscoping • VFX Compositing • 2D VFX • 3D VFX
Description
L'Ombre is a hybrid experience blending contemporary dance, stage lighting, and 3D environments, discovered by audiences via VR headsets in 360° setup. Final perception relied on total fusion between live performance and digital architecture.
Under Flame, I integrated 3D sets and characters into live footage. Project particularity: no green screen was used on physical stage; only certain 3D set areas were designed to accommodate compositing, which implied complete depth construction in compositing.
I ensured 3D set anchoring and harmonization in live capture to guarantee stability, light consistency, and visual credibility.
Role
VFX Artist & VFX Compositor
Toolkit
- Flame
- Photoshop
Duration
5 weeks
Production
JLA Productions, France Télévisions and RTBF
Challenges & Solutions
No Green Screen on Live Stage
Dancers evolved solely under stage lighting without chroma-key device, making depth management and 3D element interactions entirely dependent on post-production.
Precise spatial tracking allowed me to stabilize digital environments and proceed with targeted 3D element rotoscoping, enabling their passage in front of performers and thus recreating credible spatial hierarchy.
Real Light & Virtual Source Fusion
Show's physical lighting had to naturally dialogue with 3D set light sources to avoid any perceptible VR vision break.
I therefore proceeded with intensity, direction, and color dominant adjustment in 3D compositing under Flame to visually anchor performers in digital architecture.
Complex 3D Architecture Integration
3D sets had to precisely embrace perspective and live shooting camera movements while respecting immersive 360° logic.
In response to this constraint, I ensured proper element spatial alignment, notably fine depth management, and 3D pass harmonization to guarantee stable and immersive rendering.
Production Constraints & Tight Deadlines
Project had to be finalized in extremely tight deadline while ensuring finishing level compatible with immersive VR broadcast and TV exploitation.
To counter these constraints, I optimized my Flame workflow, prioritizing critical shots and implementing structured compositing methodology to ensure execution speed, technical stability, and rendering quality despite urgency.