URC Match Promo
URC Match Promo
The 1872 Cup, a major derby between the two Scotland teams. This needed some serious hype.
The 1872 Cup, a major derby between the two Scotland teams. This needed some serious hype.
Developing a high production sizzle to be shown on TV and social media.
Developing a high production sizzle to be shown on TV and social media.
United Rugby Championship always delight me with their briefs and this one's no different. They see the value of stepping up their marketing game ahead of big matches. This project was edited by their in-house team, before being handed over to me for GFX treatment. The process invovled regular use of Rotobrush and Keylight, as well as MochaAE to track camera movements. I exaggerated some camera tracked movements to accentuate player expressions. Optics Compensation came in clutch to bring the background to life with much more parallax shift and spherical distortion, as well as big impact moments throughout match footage sections.
United Rugby Championship always delight me with their briefs and this one's no different. They see the value of stepping up their marketing game ahead of big matches. This project was edited by their in-house team, before being handed over to me for GFX treatment. The process invovled regular use of Rotobrush and Keylight, as well as MochaAE to track camera movements. I exaggerated some camera tracked movements to accentuate player expressions. Optics Compensation came in clutch to bring the background to life with much more parallax shift and spherical distortion, as well as big impact moments throughout match footage sections.
United Rugby Championship always delight me with their briefs and this one's no different. They see the value of stepping up their marketing game ahead of big matches. This project was edited by their in-house team, before being handed over to me for GFX treatment. The process invovled regular use of Rotobrush and Keylight, as well as MochaAE to track camera movements. I exaggerated some camera tracked movements to accentuate player expressions. Optics Compensation came in clutch to bring the background to life with much more parallax shift and spherical distortion, as well as big impact moments throughout match footage sections.
Keying some shots were simple, dial in the settings for the greenscreen key and then copy and paste to other shots. But some shots required a 2-step approach, cutting out the hair and head when it went off greenscreen and then keying the rest of the body and then merging the two. However this group shot was much more complex. You have shadows, players standing close together, both in and out of the greenscreen background. After several failed attempts I ended up using a mixture of Keylight and Rotobrush, with a Garbage Mask to clean up the rough edges where both of those effects couldn't quite reach. Match footage was upscaled with Topaz Video AI to clean up compression artefacts and then, using MochaAE, I tracked the head and locked a Radial Blur effect to create a sense of adrenaline and focus. Coupling that with text call-outs for impacts, those moments were given that extra punch.
Keying some shots were simple, dial in the settings for the greenscreen key and then copy and paste to other shots. But some shots required a 2-step approach, cutting out the hair and head when it went off greenscreen and then keying the rest of the body and then merging the two. However this group shot was much more complex. You have shadows, players standing close together, both in and out of the greenscreen background. After several failed attempts I ended up using a mixture of Keylight and Rotobrush, with a Garbage Mask to clean up the rough edges where both of those effects couldn't quite reach. Match footage was upscaled with Topaz Video AI to clean up compression artefacts and then, using MochaAE, I tracked the head and locked a Radial Blur effect to create a sense of adrenaline and focus. Coupling that with text call-outs for impacts, those moments were given that extra punch.
Keying some shots were simple, dial in the settings for the greenscreen key and then copy and paste to other shots. But some shots required a 2-step approach, cutting out the hair and head when it went off greenscreen and then keying the rest of the body and then merging the two. However this group shot was much more complex. You have shadows, players standing close together, both in and out of the greenscreen background. After several failed attempts I ended up using a mixture of Keylight and Rotobrush, with a Garbage Mask to clean up the rough edges where both of those effects couldn't quite reach. Match footage was upscaled with Topaz Video AI to clean up compression artefacts and then, using MochaAE, I tracked the head and locked a Radial Blur effect to create a sense of adrenaline and focus. Coupling that with text call-outs for impacts, those moments were given that extra punch.
The trophy shot needed an almost frame by frame mask as it was so reflective and had left the greenscreen bounds. Plus the greenscreen was clearly visible in those reflections, so I shifted those green hues to a blue, matching the background. Speaking of the background, it was simply a mix of different treatments of the team patterns, a dirty glass texture and the effects Find Edges and Deep Glow. So with a mixture of tracking, roto, grit and glows, we arrive at this result. Projects like these sharpen my old skills, such as chroma keying, making them relevant again - and for that I am grateful.
The trophy shot needed an almost frame by frame mask as it was so reflective and had left the greenscreen bounds. Plus the greenscreen was clearly visible in those reflections, so I shifted those green hues to a blue, matching the background. Speaking of the background, it was simply a mix of different treatments of the team patterns, a dirty glass texture and the effects Find Edges and Deep Glow. So with a mixture of tracking, roto, grit and glows, we arrive at this result. Projects like these sharpen my old skills, such as chroma keying, making them relevant again - and for that I am grateful.
The trophy shot needed an almost frame by frame mask as it was so reflective and had left the greenscreen bounds. Plus the greenscreen was clearly visible in those reflections, so I shifted those green hues to a blue, matching the background. Speaking of the background, it was simply a mix of different treatments of the team patterns, a dirty glass texture and the effects Find Edges and Deep Glow. So with a mixture of tracking, roto, grit and glows, we arrive at this result. Projects like these sharpen my old skills, such as chroma keying, making them relevant again - and for that I am grateful.
Client
Client
URC
URC
Industries
Industries
Sports
Sports
Services
Services
2D
2D
Credits
Credits
Motion Design - Ataur-Raziq Gonzalez Video Edit, Sound - Patrick Benthall, URC End Screen Design - Lucy Bean, URC
Motion Design - Ataur-Raziq Gonzalez Video Edit, Sound - Patrick Benthall, URC End Screen Design - Lucy Bean, URC
Motion Design - Ataur-Raziq Gonzalez Video Edit, Sound - Patrick Benthall, URC End Screen Design - Lucy Bean, URC
Ataur-Raziq Gonzalez | Digital Artist
Ataur-Raziq Gonzalez | Digital Artist
Ataur-Raziq Gonzalez | Digital Artist