Heather Hoyland

...about me...

I have been a compositor in the film industry for the past 18 years. I started out in paint restoration in the mid 1990's after college. While at Pactitle Digital in Hollywood, I moved into compositing.

Starting in 2001, I spent 4 years as a senior staff compositor at Industrial Light and Magic before returning to Los Angeles in 2005. For the last 13 years I have been a lead and senior compositor at both Digital Domain Venice and Rhythm & Hues Studios.

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...Personal Info...

• Heather Hoyland
• Los Angeles, CA
• heatherhoyland (at) gmail dot com
• Available

...Experience...

...Credits...

...Education...

...Compositing Reel 2013...

...reel breakdown...

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Snow White and the Huntsman: Integration of Troll creature into existing plates, practical/fx water, debris. Adding water splashes to the camera lens

Pirates of the Caribbean - At Worlds End: Integrated 3d fx elements and 2d practical elements into scene, blue screen extraction, opening shot push in on Beckett added addition men behind him from another plate

Real Steel: Stadium extensions for Twin and Zeus fights.... all crowd (individual greenscreen people), stadium structure, lights, strobes, etc above ground level were added using Nuke 3D. Integration of Robots into scenes. Interaction between kid and Atom.

R.I.P.D.: Integrate fully 3D Kevin Bacon head into scenes. Daylight shots had extensive comp work done to create the cracking and splitting open of head. Rooftop shot was a green screen extraction of the roof set, combined with 3d environment and lightening to match plate. Integration of 3d characters and full 3d Kevin Bacon into scene.

Real Steel: Integration of Ambush into rodeo bullfight plate. Stadium extension for Zeus fight.... all people, stadium structure, lights, strobes, etc above ground level were added using Nuke 3D. Integration of Robots into scenes. Removal of mocap suits guys from plates in some shots.

Transformers: Dark of the Moon: Integration of Brains and Wheels into scene, shadows, lens flares.

Cabin in the Woods: I was brought on to help out with lookdev for a complete reworking of the Fx Wraith the last month of the show.

The Wolfman: Seamless integration of full cg werewolf, full cg fire and smoke into plates that had practical smoke and fire in them. Full 3d Anthony Hopkins head replacement. (this shot had a full 3 month reworking after the first compositor left the show and the show was extended) Integrated full 3d werewolf into chase sequence, plates and matte painted city background provided from outside source.

The Mummy - Curse of the Dragon Emperor: Integration of 3d hero/massive/mo cap terra cotta and skeleton warriors, The "raiders" shot in the underground room was a mixture of plate, 2d matte painting, 2d practical sand falling from the ceiling as each ceiling opens in the matte painting. Integration of full cg Emperor Head with 3d fx.

R.I.P.D.: Full cg vortex and 3d digi-double shot. Extensive work in the comp to get the look for the vortex itself.

Terminator 3-Rise of the Machines: The death of the TX shots were a mixture of practical, 3d characters and fx. The Arnold torso shot was a practical element that was shot and had to be warped and retimed to fit the scene. The backgrounds of the TX death were cobbled together from surrounding plates. All smoke and fire in the TX death sequence were 2d.

Jarhead: Stage shot 2d plate, I replaced large banks of lights behind the characters with smaller 2d oil fire elements. All practical smoke added.

Star Wars Episode Three: Revenge of the Sith: Green screen plate extraction. Background is a digital matte painting. Lava elements, all smoke and splashes were practical 2d elements. Wookie battle shot full 3d creatures with fx water, splashes, smoke, gack.

Real Steel: Stadium extensions, additional gs people added using Nuke 3D. Integration of strobes and spot lights over 3D stadium addition and gs extraction people to match what is happening in the plate.

Terminator 3-Rise of the Machines: Interactive 2D smoke, sparks, debris, etc were added to the mini HK hallway sequence. All the interactive smoke, dust, dirt etc for all shots, were practical,tracked and added in the comp.

Flags of our Fathers: Integration of practical and fx dirt explosions, bullet hits and fire into existing tank plates.

The Island: Integration of 3d bike and digital people into background plates. All blue flame elements were tracked 2d.

War of the Worlds: The building crash shot had integration of a 2d miniature, 3d tripod and cars as well as 2d smoke, debris and sparks into a bg plate. The cars were 2d in the plate and switched to a 3d hybrid during the shot. The building started as a real building in the plate, then switched to a miniature version before the crash.

Master and Commander - Far Side of the World: These were extremely challenging miniature boats shot on blue screen. I also used a mixture of practical and cg water to interact with the boats as well as interactive 2d smoke and debris.

Pirates of the Caribbean-The Curse of the Black Pearl: I incorporated 3d pirate skeletons into a practical 2d set.

Knight and Day: Integration of 3d bulls into plates with 2d bulls already existing in them. I also had to add about 20 extra practical people from other plates into the shot with people running at camera in front of the bulls charging. Integration of 3d massive runners in overhead shots as well as adding about 15 3d bulls to the shot. Set extension was done to all plates. All plates include 3d and plate bulls side by side.

Van Helsing: For these shots I tracked and added practical interactive smoke, debris, gack, snow, leaves, etc to both the wolf and cow shots. Comped 3d werewolves into scenes. I had to switch the practical plate cow to the cg cow before the 3d bride picks him up.

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