Just about any movie with a little action has visual effects and green screen. As I learned when working on Sin City: A Dame to Kill For, dirty green screens are here to stay.
The Zoolander 2 green-screens were challenging, with pools of dark green and light green-- but I've seen worse. And of course, the production company wanted every stray strand of hair in this film featuring fashion models.
I often come into projects as a clean-up artist and finisher, so some of the NUKE comps I inherited challenged my keying skills-- mainly dealing with some tricksy keying by other artists that needed major artifact clean-up. I don't mind effective shortcuts, but sometimes tricks can have side effects that are difficult or impossible to repair. These comps required some intense long hours to repair.
What I loved about this job was the great color palette and futuristic GUI designer Kyle Cooper and his team at Prologue put together for the on-screen graphics. Kyle and team were a dream to work with.
