Hiroaki Muramoto was the TD processing the the initial lidar reference into a master nuke environment (6 cam cube projection). I painted mattes (in neutral) for the 4 walls, ceiling and ground projections. These projections were also separated into layers so that the items in the room were projected cleanly (eg walls separate from furniture, cloth, etc...). Once the base room was set at the sequence level, I place the individual shot cameras into the scene and re-painted and projected any areas which did not hold up. I often had to add additional layers for added parallax. One of the challenges we faced for this sequence was the fact that all the reference photos provided by the client were at a 6ft level (6in level was not captured). All the shots from the 6in views required repaints in perspective and missing parts of the imagery from that level.
I set up complex Nuke setups and matte paints needed at this 6in level.
I combined the initial sequence level nuke setup and matte paintings with individual shot cameras for shot level projections. The individual shots often required additional paints and projections in addition to the sequence level base for the Looking Glass room scenes.
The room of the Deceased was a fun sequence to work on. Although the nebulas are not the main point of this sequence, it was fun to paint them and animate the layers with slight movement and give the stars a bit of twinkle.
The view from hatter's house involve work in Maya, Nuke and Photoshop. I Processed Maya render layers (SSS, AO, diffuse, spec, etc..) from the white queen castle to be use as the base for the matte paints in photoshop. From there I was able to tweak the layers to achieve the desired look of the marble castle. the rest of the environment was painted directly into Photoshop using various photo reference and some lighting render elements.
This was a complex scene which took a long time for the directors to nail down a preferred look. There was a lot of back and forth as to which cloud shapes were most desirable (realistic or clouds with Tim Burton-like-swirls). I spent many months as one of the designers on 1/2 of the shots in this sequence. I was responsible for my own Nuke setups as well as matte paints.
More clouds from a different angle for the sky fall scene.
This was a quick matte paint of the sand because the director was not happy with the original look in the plate.
A closer view of the new sand.