Working on this movie was an incredible experience. I worked on this project at MPC as a Senior Lighting/Look Development TD with a very talented group of artists. I had the amazing opportunity to do all the shading/look development work for all variations of Batman (mech suit, standard suit, clean, and beat up), while my colleague and close friend, Maung Maung Win, tackled Superman, Wonder Woman, and Doomsday. We worked closely with modeling, texturing, and compositing artists to finalize our characters' looks. Many shots ended up requiring full CG replacements.
It was also a very fun challenge being part of the first team to fully use RenderMan's RIS for an entire production. We worked closely with Pixar to push their tech and received amazing support throughout the film. Here is an amazing interview from our talented VFX Supervisor for the film, Guillaume Rocheron.
The on-set textures, set geometry and HDRI that were captured were extremely important for helping us integrate our CG elements. We had unique HDRI per shot, so we were able to quickly match 1:1 what the DP had on set as a base, and then artistically push our shots after.
For the Batman and Superman fight sequence, much of the set was practically built, so we had great reference for lighting. We did however, have the challenge of integrating full CG characters in 4k.
Many shots for the end fight sequence were full CG, so it was important to lock down what our standard would be throughout. I was responsible for look developing various props and set pieces including the entire ground/terrain the fight takes place on, buildings, and cars. I also helped set up the initial light rig that would be used throughout the sequence. Our Lighting Lead, Jason Gagnon, set up intuitive ways for us to manage lighting the insane amount of objects in our scenes, including all the FX.