Erica
Compositing • Color Grading • Tracking • Rotoscoping • VFX Compositing • 2D VFX • Motion design • UI Design
Description
On police series Erica, broadcast in prime time on TF1 and produced by JLA Production, I worked alongside two other VFX artists handling approximately 80% of composited shots across the entire season.
My intervention wasn't limited to clean-up: it encompassed creating a complete digital universe (fictional app, SMS, calls, animated interfaces), green screen replacement, technical element removal (camera operators, booms, RF mics), fixed and moving brand erasure, and texture and reflection reconstruction on complex surfaces.
I also participated in set transformations, temporal movement manipulation, key sequence visual reinforcement (burned house, specific atmospheres), and opening title creation to ensure cohesive visual continuity across the entire season.
Role
VFX Artist & VFX Compositor
Toolkit
- After Effects
- Mocha Pro
- Photoshop
Duration
5 weeks
Production
Potomak Films, Wild Sheep Content, in coproduction with TF1, Be-FILMS and RTBF
Challenges & Solutions
Narrative Digital Ecosystem Design
Narration particularly relied on digital exchanges between different characters, requiring credible fictional app, coherent interfaces, and perfect integration in often movement-shot scenes.
I proceeded with complete dating app creation (UI design, interaction logic, graphic hierarchy) validated by art direction and production, then integrated via surface tracking. Rotoscoping also helped me manage occlusions, exposure variations, and depth of field.
Screen Replacement & Realistic Interactions
Green screens needed replacement with dynamic narrative content while respecting original shot perspective, brightness, reflections, and focus.
I therefore proceeded with perspective reconstruction, color adaptation, interactive reflection addition, and screen-emitted brightness simulation to anchor interfaces in real environment.
Technical Element Removal in Complex Environments
Certain shot complexity was often concealing camera operator, boom, RF mic, parasitic shadow, and crew reflection presence in glassed or metallic surfaces, sometimes in camera movement or with objects crossing frame.
To conceal these elements, I notably proceeded with multi-surface tracking under Mocha Pro, frame-by-frame rotoscoping, complex area reconstruction, and credible reflection recreation to maintain light and volumetric consistency.
Brand Erasure & Mobile Element Retouching
Certain brands or defects appeared on moving objects under different exposures and angle changes.
Temporary area stabilization, targeted clean-up, then re-projection into original movement to preserve shot natural dynamics.
Set Modification & Extension
Sequences required entire set portion removal or replacement, or even two distinct take fusion to create unique shot.
I proceeded with composite shot creation accounting for perspective adjustment, light and contrast matching, new element integration, and global harmonization with photo direction.
Temporal Manipulation and Dramatic Stillness
Certain scenes demanded perfect character stillness or subtle rhythm adjustment to strengthen dramatic tension.
To address this requirement, targeted retiming was necessary, partial micro-movement freeze, localized stabilization, and transition masking. These different manipulations achieved imperceptible but narratively stronger rendering.
Key Element Visual Reinforcement
Certain sets like burned house needed visual intensity gain without tipping into artificial effect.
I therefore had to accentuate burned textures and densify certain details. I also adjusted color and integrated complementary elements to strengthen dramatic impact.
Packaging & Seasonal Coherence
The series required stable visual identity across all episodes including opening title cards and graphic continuity.
I handled opening title card creation and integration, ensuring color harmonization between different episodes and global visual consistency.
High Volume & Prime Time Requirement
With 80% of composited shots under my responsibility on national broadcast to large audience, the project implied significant workload and impeccable finishing requirement.
For efficiency purposes, I structured optimized workflow and proceeded with rigorous version management and key sequence prioritization.