We decorated all spaces except for people in 3D on the plate taken on the green screen.

The space was decorated at the same time while taking a test based on the content and incidental sensitivity, tracking, camera match move, and keying work were performed at the same time, and rotoscoping was also performed on the final filming.

I realized that the initial shooting plan is important, but the plan until the final synthesis is also important.
At the end of Popol, it is difficult to maintain the initial passion, so I think I need to plan well from the beginning.
Every week, I got confirmation from my teacher, and sometimes it seemed that nothing had been done. However, while working, I felt that even if there was nothing to be confirmed, I thought we should talk about the state of having nothing.
I can get help from my teacher about Popol, but it's me who I am after all.
I think I wrote a confirmation every week with the thought that if I really don't do anything, the teacher can't give me any feedback.

But I think that idea was a big driving force that allowed me to work constantly for 10 months.
If I had worked alone, it would have been a workflow that could not have been achieved.

For me, the times here are like putting a stone bridge in front of my eyes every week to cross the river.
In fact, I still can't believe I finished this portfolio, and I still regret, "If I had paid more attention then..." But I don't think it'll change much even if I go back to that time. Because I know it's my best capability at that moment and situation.

And I also know that what I realized through this long time will be feedback for the future ahead of me.
I am always grateful to the academy teachers who helped me realize all of that.

The time at the sf film school, where I started as a vfx artist, was so important in my life, so no matter where I work, I don't think I'll forget the start here.
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