This was another Mr. Beast project I did with my friends at SOKRISPYMEDIA. Instead of flying to North Carolina this time, the project was remote for everyone on the team, so I was able to work in Los Angeles on my laptop. The footage had already been shot, with blue screen placed behind the redwood trees with doors. My task was to co-create the environment extension, as well as create a render movie queue pipeline with the appropriate custom matte passes that could be sent over to the render machines in South Carolina and then sent off to the compositors.

The main thing I wanted to have in place before starting the project was a remote source control system. I have had a lot of experience working with Perforce before with my past projects as a Lead and with Freelance. However the system does come with its own set of inefficiencies when the project gets larger. I wanted to try Plastic SCM for this project as it is cloud based and is easier to manage between different artists, especially when errors occur. I set up the cloud network and it proved to be quite compatible for this project.

I also created a tool that allowed us to create shots based off a template sequence. With around 60+ background shots with different naming conventions, it was efficient to be able to title the shots in the tool and have a folder created with the sequence and the image media source appropriately named.

After each shot was created, we could then import in the camera track FBX files, link up the media files to the custom keying post process material to align the track to the environment.

With these systems in place the project felt quite streamlined as the project went on for the next 2 weeks, even with it being remote.