Depending on the complexity and the creative needs, we can use a nodal or a layered 32bpc compositing workflow, with the latest industry standards : OCIO, ACES & Cryptomatte
The compositing part of a 3D creative process is often unknown for our clients, and hard to comprehend. But it's an essential one.
When we do a 3D render, we don't only calculate the final image, but also a lot of additional passes that help us take our renders to the next level. Having all these extra datas in our images allow us a lot of flexibility to handle client changes, even after the render.
We can adjust every part of the image with great precision, thanks to the unlimited procedural masking allowed by the Cryptomatte.
In short, we can create masks, and combination of masks, from any object or material selection, after the render. If a client want to change the colour of one tiny object in the background, we can do it easily.
By using 32bpc channels, and an ACEScg color space with OCIO, with have a very large latitude on what we can change during the post-production phase : colors, exposure, depth of field, everything can be adjusted without any loss of quality.
The image feels too dark, or too bright ? We can adust the exposure without any degradation or artifacts, with the possibility to retrieve any details in the highlights or the shadows, even those not visible in the original render.
We used Nuke powerful nodal workflow to do our most demanding compositing and vfx works.
Compositing is also the main part of our visual effects projects.
It allow us to combine real footage with our 3D renders, in a realistic way.
Below is an example of our vfx workflow when compositing 3D simulated smoke on top of filmed shots.