Rendering
Once I was happy with everything I used redshift to render and included some AOVs that might be useful in compositing such as world position, Z depth, motion vector, diffuse lighting, shadow, normal and sometimes included cryptomatte. I only did this when I knew I wanted the ability to edit separate objects in my scene and could not use multiple render layers because adding a cryptomatte significantly increases render time.
Compositing
Then I proceeded to composite my scene in Nuke where I generally followed the work flow of adding edge blur, defocus and touching up the colour grade to ensure the bear matches the film plate. Then I roto'ed out any undesired areas and added reflections where needed.
Then finally, I exported out the composited scenes as PNGs to place into the 'film border template' Emily created. At this stage all I had to adjust was the colour since the template already had the film overlays and grain.
To ensure we had consistent colour grading between our scenes we thought it would be useful to have a mood board as reference. However Emily and I could not decide between a red/yellow or teal/orange colour palette. Therefore we decided to ask 9 of our classmates which one they preferred and the red/yellow colour palette was most favorable with 7 votes. I assume this is because warmer tones, especially yellow, is typically more associated with nostalgia. This is very fitting considering it is one of the main themes we are aiming to portray in our film.
While using the red/yellow tone mood board, I colour graded all my scenes and until i was satisfied. Finally before exporting them into the final rough cut Emily and I reviewed our scenes to see if they looked cohesive. Fortunately our colour grades were fairly similar so I added the final composited scenes to the rough cut.
Final Composite:
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