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We see how 10 bit rendering clamps and how to set your render node to 16 bit. This class covers Action G-Mask and creating a reflection of the backdrop.
#Flame painter advanced plus
The tracked camera is leveraged to create roto in Action, plus a look at 2D tracking of roto for a moving camera shot.Ĭontinuing the advanced 3D matte painting shot. Also covers 3D blur, defocus, and a look at using BFX as pre-render.Ĭontinuing the advanced 3D matte painting shot. This class picks up on lighting and shading, shadows and shininess, and ambient occlusion within Action. Action outputs, and comping with action output passes are also covered.Ĭontinuing the advanced 3D matte painting shot. Tasks include laying out railings and ground as well as introducing texturing. Class topics include harvesting Nuke assets, how to import camera and locators into flame/action, and setting up a cylinder for background inside action.Ĭontinuing the advanced 3D matte painting shot. This class includes a review of Iterations and then begins an advanced 3D matte painting shot from NUK309. A core matte is also created with the 3D keyer, and ends by making a light wrap onto our foreground and track marker removal. The class covers more advanced controls of the master keyer, separating the matte from the suppression, and combining different versions of suppression. The class covers color management node presets, a first look inside Action, 2D tracking, contexts vs the viewer node, Defocus, keyframing, Regrain, viewer controls, and the compare buffer. The course starts with basic matte painting shot of the two girls in the store from NUK309. Explain the difference between batch and BFX as well as cover I/O and a bit of color science. General introduction to flame layout, showing where the controls are.
#Flame painter advanced for free
To follow along with the course, members can install a 30-day trial version of Flame (for OSX), available for free from the Autodesk web site.īasic Flame usage for Nuke users. Today Sam is a VFX Supervisor and occasional compositor on television programs, feature films, and teaches at fxphd. He has composited in Nuke and Flame on many large VFX films at ILM and other top studios. In 2000, Edwards moved to the West Coast where he took a job at Digital Domain, where he was assigned to the Nuke development team as a test compositor and helped write the in house documentation.
#Flame painter advanced tv
There he worked on TV commercials, music videos, and feature films for eight years. Each shot shows a slightly different technique for creating the best mattes and suppression from the green screen footage.Įdwards started using flame in 1992 when he took delivery of the second Discreet Logic system in New York City. The includes a projection of a spherical map onto 3D geometry creating animated textures for the CG. The third shot uses CG renders, staring with a look at bringing multichannel EXR’s into Flame. Lighting and render passes are also discussed. The shot tasks include harvesting a 3D tracked camera from a Nuke file, building geometry, applying textures, and creating a matte painting background from a panoramic photo. The second is a much more advanced matte painting shot that covers the creation of the entire 3D environment. The first is a simple matte painting shot that covers 2D tracking, roto and keying. You'll be shown tools equivalent tools to those in Nuke, but special attention is paid to the unique tools in Flame. The course contrasts Nuke vs Flame workflows and discusses the underlying principals of compositing and how Flame handles them. Many of the lessons will cover shots created in previous fxphd Nuke courses so that students can refer back to the previous course to compare. This 12-part course, taught by Sam Edwards, is designed to get Nuke compositors up to speed on Flame.
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