Tomas Egger has made a name for himself in Brazil, as a film director for television advertising spots, a VFX supervisor and a software developer (Electric Image). With over 17 years of experience in special effects and CGI, Egger opened his own studio,<a href="http://www.ottostudios.com/” “target=_blank"> Otto Studios , in Brazil.
We had met Tomas a couple of years ago when he shared his work with us on a commercial spot he had done for the TIM Music Festival. We were so impressed with his work with mocha then, we decided to reconnect with him to see what he’s been up to.
Imagineer: It’s great to hear from you again. Can you tell us about recent projects that you used Mocha on? What specific areas of Mocha products were used?
Tomas: In my role at Dinamo Films, I like to bring my expertise to the table to find new ways to raise the bar and push our films to new limits – I love a challenge! Dinamo Films has a strong background in TV advertising, mixed with lots of post-production and motion graphics expertise, so it’s a good fit.
Recently, we completed a project directed by Edu Cama for Coppertone sunscreen in which we used Mocha AE, with heavy reliance on the Planar Tracker! We used several tools on this particular shot, including Smoke, Maya, After Effects and Photoshop. Mocha was the first tool we used to start the rubber cloth clean-up.
Imagineer: How much time was spent in post-production and VFX?
Tomas: We spent a total of 3 days – one day for mocha to track all the surface patches and export to After Effects; and 2 more days cleaning all patches in Photoshop, and compositing all layers and color grading on the Smoke.
Simultaneously, the stunt double mesh was animated in Maya to match the actor’s body in order to generate the “sand beach” falling from his body. Once we rendered in Maya’s Mental Ray, the pack shot was done by the team in After Effects and Maya.
Imagineer: How many shots were tracked with Mocha products? How did Mocha assist the process?
Tomas: We solved 2 complex shots with Mocha AE; Mocha was, as always, the “magic” tool which I love. It took me only 1 day for all of the tracking, and for decomposing the actor body’s on several patches to fix the rubber cloth wrinkles and ugly deformations.
Imagineer: Besides using Mocha’s planar tracker, what other features did you take advantage of to hit your deadlines?
Tomas: We used Mocha’s planar tracker primarily for this project, but I always find a way to use the other Mocha features, like the stabilizer, which I like a lot.
Imagineer: Can you talk about any particular challenges or shots that Mocha helped on? Would these shots have been more difficult to achieve in another set of tools?
Tomas: Its quite simple, really: How could I possibly track a actor’s body covered by a rubber cloth, with “sand beach” glued all over it, with any software other than Mocha?
Imagineer: You’ve created some high end VFX shots with relatively inexpensive tools. How does this impact your work?
Tomas: I have witnessed a lot of change in the VFX market. But I can honestly say this, Mocha is the most revolutionary tool I’ve seen in this decade! It has allowed us artists to do “unthinkable” shots under amazingly short deadlines – and all at an inexpensive price! There’s nothing else like it!
Imagineer Systems’s Mocha allows me to have more time to create amazing films with ever more impossible shots and all in a way which I never could have imagined a decade ago. Mocha makes it faster and faster for me to bring my ideas to life, and with stunning, high quality realistic results. I’m always hungry for new challenges and Mocha is my weapon of choice to take on anything!
VFX Supervisor / Mocha: Tomas Egger
Smoke Artist: Marcell Hernandes
Smoke Artist and After Effects: Saulo Silva
Maya Digital Double match and 3D Particles: Leo Cadaval
Maya 3D Render: Mauricio Lobel
After Effects Pack-Shot: Luiz Alberto Ferreira