Levi's — Quality Never Goes Out of Style · Chapter 9 of 9
Integration & compositing
Multi-pass EXR in ACEScg, every light layer adjusted in comp — two render engines in one sequence.
· 1 min
With clean plates and final renders, every shot went into compositing, where CG and live action became one photographic world.
Passes
Renders arrived as 32-bit EXR sequences with more than 12 passes: beauty, diffuse, specular, reflection, refraction, shadow, emission, GI, ambient occlusion, cryptomatte and Z-depth. That let us balance the robot against the plate without re-rendering.
- Diffuse and GI matched to the bounce light of the alley.
- Specular and reflections graded to the sun and bright sky.
- Soft contact shadows wrapped into the real geometry.
- Emission from the LED eyes and head panels lighting the surroundings.
Every light layer was treated as a photographic exposure — adjusted in comp, not baked in render.
Two engines, one look
Hero close-ups and wide environment shots were rendered in two different engines. Custom LUTs standardised their tone curves in Nuke, so both could be mixed within one sequence without a visible difference.
Colour was matched in ACEScg and composited in linear space. Z-depth and cryptomatte drove defocus, fog and selective grading; atmosphere passes added the humidity and bloom of Bangkok.
Each frame was composited to feel photographed, not rendered.
Film & CG
Commercials, music videos and CG characters — shot, built and finished in one pipeline.
Start a project