FMX 2019 | Matt Workman Cine Tracer Presentation

published on July 20, 2020

Welcome to our next presentation in the virtual production track at FMX 2019 our next presenter has studied the software engineering and has worked as a director of photography in professionally on many projects and he has combined these two skill sets to create a software that

He's going to show you now it's my pleasure to introduce Matt workman cool let's load right into it cool so my name is Matt workman and the developer of a program called Sinha tracer and I'm gonna risk an alt tab here this is live

On Steam already so if you're a student please try to convince your teachers to go pick up licenses for everybody that's that's the assignment from this so I build this and it's an app slash game and that's kind of like what this

Presentation focuses around and on first glance did this remind anyone of a certain video game does this look like anything you're probably serious VFX artists and such it looks like fortnight so you know it's a fortnight so you

Might have been embarrassed to say that you recognized it that's what it looks like and that's the ideas to make it look approachable like it is a video game and this is really designed for non professional 3d people but I think it

Can be broad enough to be used by the professional industry as well and I've actually really bad at PowerPoint so I designed PowerPoint slides in the game and that's a cool thing about unreal engine is that's really quick to make

Ideas I made this object really quickly if anyone's worked in the real show I'm working but I'm walking backwards it's a little weird so there's this one and these are this entire presentation you could go home and make it if you wanted

To as well this is made in the program so it's a real time previous app and it's for filmmakers and cinematographers first which is probably kind of odd for most people to hear this is like previz for production people I was a

Cinematographer it's for a director on set we have stuff for gaffers lighting people art departments who are on set it's designed to be usable live but also previous India far actually VFX artists you guys are cool too this is

Already being used we released in September of 2018 I believe as an early release and I released one map which will kind of see what that means later and some like pretty broken mechanics there's just like a test we just put it

On Steam so you know see how it would do and it's sold incredibly well and it's being used already all over the world and I I wrote on Instagram this is my Instagram here feel free to go follow like right now I won't be offended if

You take your phones out if you're following that's cool and there's DPS in Stuttgart who are using it and they reached out to me and they were saying welcome and all that and I told one of them that I would shout him out so here

It is I don't know how to pronounce the name Lawrence is that it does that sound about right and if you go to his Instagram he has a Kickstarter for a film he is working on and he's using Senate races to pre-visit and then I

Think he's brought it to Maya after so it's out in the world the backwards walking looks funny I'm gonna switch to this view so we'll walk over to our next slide here so I think a quick way to understand what this is is to hit our

Inventory here which is a concept for videogames but in Maya or cinema 4d it might be like your content browser this is what we have we've got cameras lights building stuff props and actors in here are a bunch of cameras and they're based

On real world cameras and there's gonna be a lot more my previous plugins for Maya in cinema 4d had about 200 real world rigs we only have a couple so far because they're a little bit harder to build for real time stuff but we're

Going to have pretty much the entire film industry as far as like on set equipment present in this we're gonna try to make it as realistic as possible building stuff and there's more so here's something you can't do in a

PowerPoint slideshow is this so the concept of this is to combine the layout camera tools from popular DSG's like Maya cinema even Unreal Engine editor combined those tools the parts that I personally really like and combine them

With games so as I'm building any new feature it's like well how would we do this in Maya how would we do this in a traditional way and then how would you do it honestly and Fortnite like what would you do and like what are the good

Parts of both which ones are faster which ones are more approachable and it's it's been a really fun project to try to do that and I also 3d scanned myself so I could do this so this is me doing previz and this is

Reminding myself to keep it fun that's like a huge part of this has made accessible and possibly even enjoyable to do it so one of the first ways we do this for me is simply moving around like moving the camera like in the viewport

So like in Maya cinema this is coming from like Solid Works style like you're revolving around like a part like you're making a 3d model and you're revolving you're orbiting the camera and that's pretty foreign to most people the first

Time I'm pretty sure the first time anyone picked up Maya it was like how do I just move how do I just like move through the scene and I think video games to do an incredible way they make it very accessible for anyone to move

And it's very easy to learn in this case cuz not everyone plays video games that uses this we just right on the bottom of the screen how you move it's WASD not everyone knows that but it's a pretty standard gaming thing and most of this

Stuff also works with an Xbox controller and will soon work on an iPad with touch based and so the first time you hand this to anyone we want it to be that they know how to move throw someone who doesn't know Maya on Maya and be like

Cool move yourself down there see how long it takes hours if you never really told them how to do it with this the first like I think my five-year-old would be like actually he's incredibly games already but it's incredibly easy

To move and that's something we take for granted if you just you just live in Maya you live in previous it's like you know that but most people don't and this is targeted for people that are gonna jump right in cold they don't they don't

Even play games they don't do any 3d this is really who it's designed for so the first one is moving and in this mode we have I call this lovingly fortnight mode because it's it's modeled after that and I'll show selections I can hit

V this goes into first person and you can still see your feet oh we can fly I haven't shown I yet would be a better view and this is kind of like a VR view you know you're you're locked at a human scale perspective so it makes the object

As you look at them they kind of make sense versus I'll show you the traditional editor view in a second it's really easy to lose track of the scale like like even an even in first-person here you walk up to this sign and it's

Like well how how big is this just looking at can you tell how big it is as you get used to playing the game you'll know that like level is about your eye height so as you look up at it it's bigger and this is something that

Helps keep scale in mind the entire time this is a more traditional video game view and the fun part of it is that you get to walk around if anyone recognizes the cameras on his back how the the jetpacks are made they're from industry

Cameras and the helpful part the serious part about this is it it's fun it's accessible but it's also giving you a constant scale like if you're doing Unreal Engine stuff you'll usually bring out the mannequin start building your

Sets and make sure that you have someone whose scales you're not building things like like a really weird real great proportions you constantly have this you don't have to worry about it as you walk around the set you always

Have human proportion in mind and we do have a traditional editor mode let's see if I can if it's gonna load real quick we have an effect there is a sound effect but I turned it off because I think would be kind of annoying to hear

That over and over again and then this enters you into what you're used to for normal previous and scooting around spoilers over there and you can clip through walls but I really enjoy this I think it's part of the reason it's been

So successful so far in the non gaming non 3d space these are filmmakers who do neither has been incredibly successful there is that having actual physics interactions with the objects just make it feel more real so as you're going

About your day doing layout and can work being able to actually interact with them is really satisfying that makes makes the whole thing a lot more fun in my opinion so the second thing we do again this is the concept of combining

Games with DC C's and what parts are cool or moving objects so if we take this it's a little occluded here we take this this is a little nightstand here we have gizmos and that's the traditional way if you switch to editor mode like

This gizmos like you'd expect we have local rotation but we also have if you double-click it is a video game style move and I call it a trace move where we're lying tracing to the object we're getting that position and we move it

There so it's really fast I think layout tools from Maya used to have this when you first imported it we can invoke it at any time if I scroll the mouse wheel every rotates the object we're against the wall if I hold control it'll ask for

The normal of the of the floor or whatever you're putting it on and it makes things like this trivial it's like let's put it back on the floor here spin it what about the bed what about this so it makes previewing and moving objects

Much faster than like this this this and so that's something that all video games do inherently mostly because their controller based so you just can't put gizmos in games in most cases but it's something that's really really fast and

I enjoy and something else that I love doing me I'm gonna change the lighting here this this chandelier here this one's a little bit wonky to move all I'll try it here actually has physics and so this is something that again

Would be kind of impossible to do in most you see that's a that's not the most realistic physics in the world there's probably a better physics Unreal Engine demo happening later today but that's that's mine that's so much I've

Lost but you can add as many of these as you want and you just bump into them so there's a set of like fun aspect as well in discovery these go out of focus incredibly well I'll probably do a demo with them unreal engines bokeh from four

To zero or two I think it's to zero the new circular bokeh looks amazing and it's really fast and it's really clean looking even compared to doing I've done I've done bokeh stuff in all of them like v-ray Arnold's and this is

Incredibly fast in real time so that's moving objects I'm gonna turn the lights back on this is the and so the next one is it's all real time so what you see in this that's what it is we never render out a lot of people are asking me for

Like in-game recording systems you can literally just play this like you're a fortnight streamer record your screen with OBS or Nvidia and vincas a lot like new stuff coming out you just record the screen and instead of exporting

Sequences like ten seconds five second clips you record the entire session and you end up with footage instead so that's like the paradigm it's like instead of little clips you're handing editors like a full chunk hour of

Captured stuff not all of its useful but when you go through the camera which we'll do in a little bit you just record the entire time you don't render so it's a big big difference coming from like even my a viewport 20 previz you still

Render you still have to sit there so we're gonna look at some camera controls here and I'll head over to our little virtual production sets again this is all made right in Senate race or I'll select this psych wall here and this is

A premade object it's not hard to model this if you know how to do it in Maya but if I had to teach people which I used to do I used to teach cinematographers how to make these in cinema 4d

It's a thing you have to extrude and then you know bevel to make the corners here it's pre-made I'm gonna mess it up and put a pill to get it back but this is just a quick parametric object that I put together and it makes making a

Physical psych wall even to scale trivial it's really easy I don't remember what this was I'm just gonna eyeball it like that so that's how this is assemble that's just to psych walls you bring them in you can change the

Color I'm not gonna change it because then I'm not gonna be able to put it back nicely and we have a lot of parametric objects like this so picture this for everything that you would ever need on set you bring it in couple

Sliders you're good to go you can start rendering start working with it so for this demo I want to show the cameras so I'm gonna hop back into this mode here and I actually want to fly around for a second this is lighting steady

Cinematographers here like is this familiar this equipment to anyone it's mostly view effects I imagine well for the for the film industry to have the ability I fell but to have the ability to actually put this stuff pre-visit use

It this is stuff that like we see every single day as cinematographers and lighting people that isn't typically put into previz isn't isn't considered so I'm building out stuff that is for the gaffer's for the DPS it's already being

Used and you're gonna start to see cinematographers handing you previs and ours might look really really good because we're using Unreal Engine so let's hop in this crane here so these are the cameras I'll give you a quick

Tour so this is the first mode that you get in and one of the fun parts about this crane is that you just drive it around like a vehicle very videogame II for some reason I still allow it to jump this crane jumps it can do spins I think

It's a good enough reason to buy it right there again on steam-powered calm right now drive yourself a techno crane it's a good time if I hit V this is our second view and I'm gonna switch to the Xbox controller here the controls are at

The bottom and again it looks like you're watching a video game if I move the left stick here which is illustrated in the middle there should see the stick it's going to swing the arm or pan it if I go up with it it's going up this is

How cranes work in real life and we of course see the camera view there this is the remote head at the end on if we can see it I'm going to put the camera over there if you can see the head at the end this is pan and tilt here so all live

And so if you're interested in how these work the Chan of you getting on set and then ever letting you touch the wheels is pretty low it's very low they should they shouldn't let you but here this is a

Very good simulation of it live and if you talk to Jimmy jib operators and people who do cranes there are people that operate certain cranes at least the head with a stick like this this is tuned very closely to how it works in

The real world and then the to trigger axes here retract the arm so we can actually I'm gonna have to look at this now we can move this arm I can move the arm in I'm controlling the head at the same time and I can extend out so this

Is three axes of control in real time right here I could teach anyone to do this really quickly and it relates one-to-one to how you'll have to do it on set as well so if you want to know this is a loosely

Modeled after a super technically in 30 I'm not gonna claim at the moment that this is the perfect height but we'll get it there you'll know was that you bring out the 30 what's the max height we have it for you I'll start to write more you

Know more metrics like I can draw like how high we off the ground it's up like let's stuff like that's all very easy and if you want to know how high can we put this camera does it fit in this stage if you build out the stage in this

If you want to well no it'll be trivial be very easy and it doesn't have to be it's not actually this is not the crab to say it to it doesn't have to be the previous and VFX Department it can be almost

Anyone that's somewhat knowledgeable it should really be someone close to the DP and in my perspective but there's nothing to say that the DP couldn't then just send this scene to the VFX supervisor the VFX supervisor changes a

Couple things sends it back when we have multiplayer established like fortnight basically you could just do it all at the same time so that's the crane hop out of there I'm gonna delete it real quick just go all the way this is a

Camera dolly so similar concept this one doesn't drive around yet I really want to make it do that but or this one just gonna go down the dolly track same thing where's the shot and so this is restricted to moving right so you could

Take a floating camera and animate this exact same movement but it's actually a little bit trickier if you look at the arm how it goes up and down and how the orientations are subtly different we're not rotating knodel II I don't take the

Middle of the Maya camera I rotate it right there and do that's up that's gonna like the default way or like doing like an arbitrary like pivot from something this is how cameras move in the real world you have a fixed linear

Access here up and down isn't actually straight up and down which you don't have to do that but if you ever watch camera moves there's there's usually arcs things don't move perfectly should up and down this doesn't either the pin

And tilt rotations we're not doing entrance pupil simulation right now but it doesn't rotate nowtell ii if that's not quite the right way but i think that's what most people understand it as it rotates like the

Real world version so when you do the camera move if you were to go into say full-screen mode here with the tech vis as you execute this camera move it's subtle it will feel a lot more like a real world camera dolly move than if you

Just take a Maya camera key point key point where the rotation doesn't look like that when you go if you sold a client on that's what it's gonna look like you better get it like a what's it called

Tim technodolly motion control crane on Milo you can't do moves like that in the real world unless you have pretty precise motion control it's a subtle thing if you're selling clients on camera moves but I used to do that as a

DP a lot of pitching so those are the cameras and a quick demo I can show some quick lighting we're gonna do more lighting stuff here in a second but this is our flat map so if you're on like a relatively low-powered computer this is

The map that most people should be using you have to have like a pretty modern computer to do much more this is a one sided material or object so we can see right through it like this but then through here we see it like that so this

Is all pre setup I used to do all this stuff in Maya but I'd have to set it up like every time and I used to make plug-ins for it but doing it right here in Unreal Engine it just makes it really easy and I think

I think the DPS that use it are spoiled they don't know what they're getting they don't understand how how cool this is but one other thing we can do for the cycle I think these lights are on I

Don't remember how I set this up yes also turning some lights off so this is all non r-tx so this is just regular raster but it's pretty good and we figured out how to I say we because it makes it seem like bigger it's it's me

I'm the one making this but I'm gonna continue to say we but just so that you guys know it's it's just me this is really just a spotlight but there's a couple like tricks to do the spotlights and Unreal Engine didn't make the shadow

Soft they blur it and it's not like physically accurate soft but if you're trying to show a soft light it's pretty good simulation and we have a trick with the reflections – that this will actually work non

Screen-space reflection so you'll see that in their eyes actually can I see it in his eyes let's screw it up into his eyes well can you see it's tiny but you see the eye light from the light source that's actually pretty physically

Accurate it's not ray-traced but it's the way that they're spotlights work it's actually a spotlight but it has a gigantic twelve by twelve body and for some reason I can get reflections in eyes which is like 99% of the battle for

Lighting humans in my opinion in 3d we get that already here so this is this is non ray tracing this works on Mac and this should work on iOS I haven't pushed it yet but this quality is pretty cool this light source is pretty simple this

Is how all the objects work you've clicked them they have a slider you can change the color really easily and you can just make more of them spin them around pull them up it's pretty pretty straightforward to learn compared to

Having to like wade through the settings of all the traditional DC sees make this wait again I can just pull saturation down I just wrote this color selector has anyone written a color selector before you probably don't have to

They're in all the DC's I – right this one it was I'm proud of that that's look I took a long time to be able to do that and so all these lights do turn on I can turn this one back on and do pretty much proper stage lighting so this is

Something that the DP and the gaffer would just jump on this and like this is it they'll look at the lighting and whatnot or as the VFX supervisor or previous artist you have the same tools and if you did this I mean you could do

It wrong and not do help you know set up lights in the way that it's not gonna make sense in the real world but if the previous artists use this tool set as well if you showed this to add er to a DP or even directors a bit on set it

Would make sense whereas when you make Tek vis stuff where it's like just you know normal 3d lights that don't they they can't really like just like say what they are they can't read that this is readable to anyone that's on set and

To save performance what we do for the psyche walls we can make itself illuminated so we don't have to actually waste lights lighting it up so we can do that so I'm going to load into a different map and this is how the game

Works you basically make a new project which will do you make a map and you save it and it's that simple okay so I'm gonna talk a little bit about my background really quickly this this is it this is it so this is me the

3d can Matt workman I was a commercial cinematographer in New York City for like roughly ten years and I started off in hip-hop music videos I think I've shot around like 200 to 300 starting off

Like micro micro-budget Craigslist is that a thing here yeah yeah okay Craigslist I was the king of Craigslist music videos like so many I won all of them in New York Boston in the States Rose it I let that thing

Thing to brag about but I am now and I kept doing it moved to New York City and eventually moved into much bigger music videos and then into commercials here's the proof me with a camera there it is this is me with Justin Bieber right

Before he blew up this is right before his first big music video when friends of the director who did that too and this was kind of the transition here I started to work for Viacom MTV so I've shot like hundreds maybe even thousands

Of commercials for Viacom companies like MTV vh1 is spiked by a de la spiked like tons and tons of commercials and this is what I'm proud of this is me with the the Burger King guy the King I think and we're at Spring Break with MTV so it was

A fun couple years doing commercials like this someone got killed on this shoot it was an aqua poke of Mexico so it was kind of weird but uh but the king was there so what I what I ended up doing is the DP writes like some as

Cinematographer where does this 3d stuff come in is that I'm in New York City and I'm doing a lot of commercials and there's a lot of green screen and there's we were doing early early virtual production I wasn't doing it I

Was the DP on it just kind of like watching and being like I don't know this is and we did some of the first like 360 commercials for Facebook and Bacardi that was one of the first ones that came out but as a DP in this space

You know the set designer would come in full 3d set and this is being producer org big meetings with everybody production designer comes in fully 3d set the VFX people have all this previous and all this stuff and I'm

Sitting there with like a notebook and I have nothing to show anyone but I have ideas I you know I have input that I need to give so I started learning Maya again I kind of knew it started picking up programming and I started to build

Kind of what you've seen before but as much froot it looks really much worse but learned how to do 3d again and was in maya was in cinema 4d oh this transition actually kinda broke I deleted that

Building this is just a quick preview this is me with a techno crane I was a DP me on a scissor lift and then over here look it's the same techno crane and scissor lifts over here I'm basically remaking what I used to do for

Living in the game and I'm obsessed with it and I do it almost every single day unless I'm presenting with something like this it was a transition astronomic oh yes used to do it in maya in cinema 4d here

It is but then anti Blondin shoutout from Epic Games reached out to me and asked me if I would be interested in building it in Unreal Engine I did a couple tutorials started to build it I didn't know anything about Unreal Engine

Nothing and this is almost my one-year anniversary of starting to program it and now we're building it Unreal Engine so this is the shoutout these are Paragon characters and so I went from a cinematographer with a little bit of

Programming programming background to kind of like an accidental game developer but I had some background and here's the crane here and this one actually has physics I was testing this before actually smash this out of the

Way we could technically turn physics on and I have a decent sized Instagram channel where I used to dedicate it to just blowing things up in the game and so this is a scissor lift which I'm also proud of some people that really don't

Love the gaming aspect but this isn't for them if they don't like that you can drive this around you can bring it up and down this one isn't really made after like the physically accurate real-world ones but will build all the

Scissor lifts you'll drive them it's fun but at the end of the day you walk away with a tech fist that's a very accurate you can call out the model if you want it that's a big deal in production there's none of that kind of stuff for

For pre-visit might be somewhat abstract but we make everything a game like you can select it you could move it but you could also drive it and that what if like what if you could drive to us what if it was a game it started off as like

Kind of a joke a year ago but then became my life this is me breakdancing and using Unreal Engine and these are we'll go build something with this but these are smoke assets you can build like almost anything I believe an unreal

Engine visually and coding wise too and you can just move the smoke around it's the easiest thing and it still looks great it goes out of focus it's a little expensive to do it but that's a smoke asset and these are actually this is a

New York City said I'll turn on the lights a little bit all these assets are free so if you're on if you're interested in doing Unreal Engine what is it this is the showdown demo if you go to Unreal Engine you load up the

Learn section you download the showdown demo which is like a VR thing I just ripped all the buildings out of it so like this New York subway all these buildings they're all set up with really great shaders you're allowed to use them

In games I hope because because I am and I'm selling this but um so this is just free assets that I built this level with really quick layout and I just give this as a set that people can go and start to use so we're gonna go into the subway

What's this one I'm so glad I made these slides actor gentle light demo under gun yes okay so this this feels like going into New York City I used to live there it's a little bit a little bit cleaner I'm gonna set the mood here and we're

Gonna turn the corner to a little pre-made scene I have here with some fighting that has just happened so I'm gonna show really quickly how I got to this point here these characters come oh that's that's a that's a shot so I'm

Gonna take her and we're going to look at some of the character controls this is a fun demo this is the set from the reflections demo from Unreal Engine you've probably seen it there's usually like two people fighting in it and like

Ninja looking people and I put her in instead but it's it's a really cool demo of the screen space reflections right now and the one on the floor is the most important one the floor reflections I feel like are the most important in

Almost every any case when it comes to lighting and doing cinematography stuff and the screen space ones in Unreal Engine look incredible ray tracing is gonna be really cool but like you look at the great as well

So I'm gonna take her and I'm gonna go to pose mode double click err and so we can just scoot her around and there's something fun about doing like this is like this is a VFX crowd so it's its layout it's

Fun doing layout but we have the lighting right it's not like ray traced necessarily final lighting but it's pretty close to like what you might want if you wanted like a blue tone and then we're gonna we're gonna light this you

Know and the lightsaber is on and it's emitting light she's being lit by that light say but these are pre-made objects that we make but we're gonna make all the normal ones you'd wants and well it's it's fun I like building

Them out and there's something cool about doing the layout like this it's really fast and light you're seeing it in real time again I can hold control she's on the wall here on the ceiling and it's really fast it's it's so fast

It can be playful and I think that that's where some where fun things can happen and it's where if we make this fun enough and it's it makes good results it's why people play Fortnight creative

Or minecraft creative they'll play it for 24 hours straight they'll play it forever and that's what we're trying to get done here that it's actually fun to do so this is a really basic ika rig that I'm working on I have a couple

Redesigns we're gonna drop out the elbows but I'm trying to put like if the not animation quality but like pretty decent like ika rig into this game and again make it accessible to non filmmakers or two filmmakers rather than

On 3d people and this is like pretty typical like you know elbow target that's actually incredibly confusing to non 3d people which I've built so many character rigs at this point that I forget that so we're gonna move the

Elbow rig to her elbow and kind of like constrain the rotations to what probably makes sense I think there's something called magic poser on the iPad we're gonna be using a very similar rig and so this does what you'd expect it to do

Like that and we'll have more and more control and finesse over it and we can save this preset here's the default a pose kind of and then you can save up a couple selections it's non-destructive and eventually we'll make it so that you

Can store these and just keep bringing them down from the cloud or someone makes you a bunch of poses you can bring them in and so this when I designed this stuff what I have in mind isn't like the control like you go into Maya and any of

Those things you want all the control perfect stuff you have to animate it the thing that guides me when I'm building these is time how much time does the user have these are filmmakers who don't get paid for previous they don't get

Paid for pre-production they don't have much time we have to do this really quickly so this actually takes a long time relatively for them so the other thing that's fun to do is to just pull in mocap and there's like millions of

Mocap libraries that we can pull in and put in this game she's playing the piano with a lightsaber right now so it looks kind of weird she can play the guitar with a lightsaber like this she can dance with it I made a

I made an Instagram like this it was it was fun to make and then if we pick a nice sword attack here we had the other character we can bring out more it's fun it's like playing with likelike GI Joes or something like that

But they're moving and it's 3d and it's lit and that's the idea is that it's quick to get to this point you don't have all the control in the world but as we add more and more things into the game we'll have pretty much represented

What you would want for like like generic filmmaking and what you would do for this in most cases because you have to film this so like actually getting the right frame is pretty tricky is you have to pause it and so you would do

This with multiple characters and once you get used to that you should be able to block out if specially if you want to do a lightsaber fight you could do it at the moment we're gonna have more and more stuff hopefully like five minutes

Maybe less you're in there with a fully lit scene you know it's pre it's you know there's presets for the lighting at the moment but that's the goal is speed we want this to be done really quickly and as accessible as possible

And I'll bring out some lights now I'm gonna do it in fortnight mode here so let's look at some lighting in here this is a fun place to do it so we have movie lights which represent the actual film lights but then we have practicals which

I think should kind of like make sense to everybody so we have this flush mount light so this is like your normal house light it's on the floor you can put it on the wall and it looks especially good and this is I think a fun way to

Actually learn about lighting I'm gonna work on these tutorials in the future is like what is this light accomplishing like what are we doing with this now it's now not technical aesthetically what are we doing with this light so

What light like this is emitting light in all directions straight down so we've actually lit two walls right we're lighting this wall I'm lighting this wall I think I do what G still all this might have broken we can change the

Color really quickly you know just reset that real quick and we're lighting these two walls right and it's showing up screen space in that reflection there and then from like a cinematographer point of view what happens is because

The wall because the floor is shiny or it's wet or something like that we're actually lighting the floor too in the screen space reflection so that's basically what a light like this is for and that's how you use an architecture

Sort of and you would use something similar in film and we can represent that really nicely here and this light at the end of the day it's the same light every time but I could switch out the mesh that

Represents it to be anything and we'll have a gigantic library of them and so the art director the DP the director can pick out what light fixture they want and then actually look at like a reasonably reasonable representation of

It this one's cool this is an Aes profile in here right like we've all done and it's just doing a little little late like this throw a couple of there this is not gonna be a nice lighting this won't be the best lighting in the

World but I want to show one more oz the tube light this is like the bread and butter of the modern cinematographers right now our LED tubes that can change color and this is this will be better for the ray tracing but these are pretty

Good to throw it on the wall and we the first thing most d– peas do that that follow me anyway is you go into a set and you make a design with the tube that you've never were able to afford to like try out in real life and you can design

Something here again the screen the screen space reflection is really satisfying and that's what most dps are looking for for that i'll frame up a quick shot on this one here i am not timing how are we on on the time inch

Right now can I ask okay so this is the floating camera and it's the same controls you can use the xbox controller and this is fun to design one take commercials I've designed I don't know how we did it

Ivan I've designed to feel like Google for Facebook like one take commercials where we're just wandering around the set and there was no previous and I don't know how we pulled it off but now like and I have this kind of in mind

This is a really good one so you would screen record this once you have everything set up and then you can have a live performance taker like okay we start with her I don't have anything else in this scene there's someone here

We go over there and people like whoever can take different cracks at the doing the the camera move maybe someone you wouldn't expect you know has a great idea hopefully the director has a take you could give maybe you don't want to

Do this to agency I mean I would give it to the creative director at the agency in a second I think they'd have fun that's gonna have the point of commercials at the high level and just give people to take at it and like

Having them communicate like this and I think as my generation in people who grew up gaming you know come into higher into the higher positions I think they'll really like this like it so the create

Objective has an idea he's like what if I could get a shot you know like like this you can't really hand those people non 3d people Maya or anything really except for a program like this and I think that they'd be able to get this

These are the same flight controls if anyone's like flowing like a Mavic like a DJI Mavic or drone these are drone controls so if anyone that's done that this is exactly how it works except it's a cinema camera so I'm excited by that

Because like the like I showed earlier I used to do tons of meetings it was all meetings and trying to convince people and pitching and stuff like that and I think there's there's a danger but there's also some fun in including them

In to pitch even if it's just to kind of like let them play around with it might loosen up the room a little bit so here's some depth of field happening now you click I'll do it with the mouse for now you there's a little tiny dot there

That doesn't get screen captured when we do the storyboards which we'll look at in a second and that's how you focus so it's just gonna you click line trace focus this is a pretty cool demo for depth of field here and also this the

Non screen space eye reflections I still don't know how we have reflections from these but I I abused it like crazy and I build them in a way that we can take advantage of them here and there's a lot from so this is just being lit by the

Lightsaber right now this is a 3d character from character creator anyone use that by real lusion they're pretty good and I took out their eyes and I put in Paragon eyes which are kinda like the latest and greatest real time Unreal

Engine shaders and it makes it pretty convincing character hair is hard hair is still a very difficult thing to do so that's a lighting demo and the characters some hop out of this one and load this up so this is a new concept

Because when I first started building this again I'm not a game developer I'd still don't know what optimization really means but so I built gigantic Maps I was like let's build huge Maps it turns out those don't load on computers

Very well unless you have like a huge workstation like I have at home so this is my new concept it looks gross like you'd be fired at Ubisoft if you Eve I mean like if this show you couldn't show this to anybody but it's just one

Landscape tile which we can actually do as voxels so we could actually people in game the ability to morph the landscape and build tunnels and stuff like that and we're just procedurally spawning grass onto it and we can have

The users pick what type of grass this is quick cyl you know quick silmido scans down there and I used to 3d scan stuff but they did such an incredible job it doesn't make sense to continue to do that so this can evolve into a very

Mini procedural map that people can make and we can give you everything like every biome you'd ever want except for you know something that's like avatar or something like bespoke but like general stuff we can do and this is a great

Place to look at the different time of day system so this is our overcast it says on the top right these are this is not final UI more still just placeholders we're developing it this is kind of like for tonight Pub G lighting

Like you'd be note be used to like you can see in interiors even though there's no lights this is a warmer daytime which we have when we have people it'll make more sense and this is Magic Hour and you can spin the Sun and there's so much

We can do with this environment system in its real time you just look at it right there we can I don't let people do it yet but we can give you sky control and make the Sun pink and stuff like that I just actually don't want people

To do that at first and we're also controlling how much atmosphere and like atmospheric perspective there is so you'll see that the the mountains in the background are fading off that sort of thing we control all of that for year so

It just natively looks cinematic and it's kind of by my definition so what I want to show now is I'm gonna hop into editor mode here where's the sunset because it matters there it is okay yeah that's it I'm gonna show the building

System and how again we're we're combining video games sort of with like DC C's this is really a video game workflow here but even the UI that I did is a little bit different so I've gone through a lot of iterations

Of this because I don't come from this background I'm just like I make an idea I wake up in the morning I have an idea and I program it that's what I've been doing for about a year so those are kind of like bad ones these are our

Procedural ones so you can change the parameters on them they're not great at the moment but um the system that I'm pretty proud of right now is this block system so you bring out a floor piece like this and under the hood as you as I

Start to build this out this is actually the fortnight building system so I loaded up fortnight creative and I was able to really quickly kind of reverse-engineer how they snap together and their general proportions we went a

Little bit different with the scale but the fortnight system wanted the hood really great and they have players building houses in the game really fast so there was something to it so we look at a block piece like this

And even in like Unreal Engine editor what you'd normally would do is bring out another one right and I can turn on snapping and you would go like that right and you would continue to bring out pieces that's pretty standard from

Modular building but what I did is try to take it one step further and make it easier for people that really don't know how to do like build a house when I first arted make a 3d houses I had I had no idea it's like we live in them but I

Didn't know how to do it what I do is I put a plus sign on each side you click it and then you can add a floor piece and it perfectly places it and it's not just next to it as we move into other B's they're actually interpenetrated to

Do the snapping system properly with 440 night but it picks the piece for you you can also then choose a wall and we can go up from here and then the wall piece again has slightly different ones and we're working on the UI to make this

More straightforward you can go over you can go up and you're snapping and some of the proof of it is that this corner this is a fortnight corner that's how they that's how they snap together a lot of games do it that way so we can keep

Building out this way and then this piece here this is like the main block of the system you can change the subtype with different doors we can put actual doors in it I just haven't done that iteration yet and I can make hundreds of

Iterations of just this and you can snap a whole house together pretty quickly so I'm just gonna build this out really quickly this is a corner so this is gonna corner towards us there is grass on the floor because I didn't want to

Build the foundation but we could do a foundation for this to just take a little bit longer so to snap together a room I hope that it's intuitive enough that most people can figure out at first but we have a lot of tutorials online as

Well so I think I feel like five minutes of watching someone do it it should be possible for a corner like that you typically have to cap it this is a huge obvious corner cap we can make more subtle ones that look like the regular

Stuff that you see in a house but we'll just have different types for that it's not changing oh there we go so we would then quickly corner cap this if anyone's done video game level layout this is pretty similar and in time like at the

Moment for making this like procedural making it kind of like a rivet which is a thought still I still want to give presets because it's a I'm thinking if I allow you to type in two dimensions of every wall some people

Will want to do that to bill it the exact set most people just want to and this is most in a very general way want to do it quickly is like let's just build a quick house with a kitchen in it and this is this is gonna get you there

So it's just as easy to start building out the interiors like this open this up there is grass in the kitchen so it's kind of weird pop out some windows that's not a window and we do have a material system as well you can apply

Materials it's not in like my favorite state at the moment I took it used to be able to make it wet and dirt dirty but I took it out for this build but this is the fun part again about you know building this houses that you can walk

Around it and experience it in a this is as close to VR as we do at the moment you see your feet you see the wall and this is something again as you have to pitch with this like this is I I'm presenting with Cinna tracer this is my

Vision for it someone's gonna have to present this to someone that's the point of this and I think instead of recording movies you would bring this to the meeting plug it in and give it to someone do a wireless controller be even

Even sexier give it to the person and let them walk around like this is the set that we're thinking about you know if they're turned off by the video game aspect of it that's fine you can put them in the first-person I could make a

Cleaner view and like it's just this it's just one stick and let people walk around it's like kind of like what VR walkthroughs want to be for for art visit I still think this is the first step before that's the VR walk this is

Really like a accessible thing I think the quest is gonna be pretty good but this you could do on your iPad when I'm finished with it you build your set and it does take time to dress it but I'll show you I don't think I have been done

With it but big proper library this is bad you I still they are gonna be sorted and I have access to like an infinite amount of assets through the marketplace in different different places and this is like house flipper or any in-game

Building system I guess I'll go to electronics right so is the first thing I build for some reason but this is very much like a video game building system and we use that and it's fast you can't go in there and start changing the you

Know the how come I can't think of the word the vertices you can't change the vertices you're not getting in there doing any of that but again this is for speed this is when I have when I make getting most of

These systems I'm looking at a user that has about 30 minutes total and they'll never come back to it and can they still get something out of it so I'm gonna quickly build up this house and then show the storyboard system that's built

Into this so for roofs or ceilings technically we would just do this and there's faster ways of having this happen the way that Fortnight does it is really fast because there's people shooting at you when you're building

Houses no one shoots at you and Cinna tracer yes and so this is this is how we do roof so you would then put a roof here and to know these rules took takes a long time even for level layout people in games we can just plop one of these

Up here and it's a contextual it'll only allow you to add a piece that makes sense you would then spin it I mean depending on which way you want the cable to go I had to learn the word gable for roof types to make this and

Again it's contextual there's a these are corner this gets a little bit more complicated but again at the end of the day this is the fortnight roof system you can just contextually build out the rest of the roof here and then for here

You have two end cap it that's the way that the snapping system works and there's corners and just with this little with this few variations you can build a lot of roofs and if I build I think like three or four more styles you

Can build any modern roof system and you don't really have to know that much about architecture you can't change the materials it's a little laborious right now so I'm gonna skip it but there's a house and again the fun part I think and

And it's I think it's really useful like when I when I'm doing previous now like not that I'm shooting that much anymore I do walk around it's like you are location scouting it's like okay like this is what it it like you know where

Are the angles like what's gonna look good we go in here what are the opportunities and the same lights and that sort of stuff work in there so I'm gonna make a quick scene over here maybe make sure that Sun sets there cool um

Let's see I'm gonna make kind of like an interview scene here and show the storyboard system so let's grab a car there's a huge opportunity for cars I've really not given this class like enough enough work but a lot of car previous

Happens I still only have this one with an interior but you can open the doors and we can make all the options possible here you can change like color of the car this is the old UI to for it but there's a car

And I want to show these scans right now as we look at digital to humans that's you know that's the one of the harder parts but these are 3d scans they're really popular on the internet they're from 1024 or 3d scans store if you

Follow people or a lot of like the cinema 4d daily people these scans are everywhere and we're licensed to use them in here so it's just a 3d scan of a person so you can't move these people but you get so much for free and this is

What people really have been starting to use a lot they look like real people this is for all intensive purposes of 3d photograph of a person and to take like a one of these and get them into this perfectly with the fold is like almost

It almost impossible like to capture it and have it be realistic like this one is it can be done in like at a super high level but to take one of our characters and get them into this it's it's still not there and so there's a

Ton of value in these characters and we did a little bit of surgery here we'll go in there it's a little scary this is not his angle you know I mean but we also replaced his eyes that sounds crazy saying that we replaced his eyes with

Paragon style eyes as well and so this character is extremely low poly entire character well for games it's not but for from visual effects it is it's a hundred K poly it's the whole thing his head's probably like five kage like

Absurd it's nothing but as soon as you change his eyes and we're gonna do a lighting demo with it it starts to feel real to me and a lot of people have been using these in the previous that's coming out of again non-technical people

Who use this these are cinematographers directors looks incredible I'm gonna try to do that now if I can do if I can so I'm gonna take out what you would do in the film industry this is a twelve by twelve frame it's a little bit big you

Would probably bounce into it in this case my gonna put it here like this turn this down I'm gonna hop into a camera I didn't show that many cameras here let's do some cameras so here's a handheld rig again he is not at his full potential

But you can walk around with the film camera and that's it unfortunately but we're gonna add procedural shake and be able to go side to side in crouch and all the things that that I see is potential in here anyway

And you can use the camera like that actually this kind of working so I'll hop in here so look at some of the camera controls now I don't love this HUD but if you look at the top left focal length iris and ISO and they're

Pretty close to like how it work in the real world so you scroll has preset focal lengths I hate seeing things like 175 mil and stuff like that and it does exist technically on zoom lenses but I for now I enforce actual

Primes that you would have in the real industry just DP is when they see previous that have like really weird focal links like a forty five point three they instantly their brain turns off so I'm helping like this is gonna

Help everyone stay on the same page just to call it actual focal lengths cinematographers and directors have emotional connections to focal lengths most of them that work in this long enough they have memories of filming

With a forty it means something even brands so we're helping by keeping this here like a thirty five you tell that to a cinematographer but like I love the thirty five it's it's the idea and so we can hold alt and scroll oh that's not

Right it's control don't know my own game so controllers changing the iris so its exposure over all right but in Unreal Engine because I'm using they're they're simulation it's also changing the depth of field so it just became

Shallower I don't know if that's apparent I can say stop stop down in quite a bit and so the depth of field is deeper so the background is more InFocus it's not like physically I don't think it like 100% physically accurate but

It's it's close it has a representation of it I think it falls off too quick as we open up but so here's wide open and then so is oh this is digital this is like a conceptual ISO is just global exposure so it's also like nd filters

Onset it's just make it darker and brighter but don't change any other aspect of the image other than the brightness so depth of field is the same got real break so there's depth of field we're on a 35 I'll go to something like

This and then we'll go to Magic Hour here's reflection so I'm actually gonna so I'll hop back in for a second let's see so let's do the UM the aspect ratios this is not accurate yeah we're doing sixteen by nine Center crop and if

People who play with ultra wide want monitors and making my life very difficult because it basically makes the sensor ultra wide which it doesn't exist in the real world so I have a lot of math I have to go figure out to make

That work but we can do different crops so this is your your anamorphic it's not really an amorphic but it's a two-point format 4 by 3 which major commercial you have to protect for 4×3 these days still so you can check it

Out here and one by one if you're shooting for Instagram and funny enough all the commercial DPS who use this right now we're asking me for 90 degrees to shoot vertical because we shoot a lot of vertical snapchat Instagram ads in

Fashion ads of vertical so we'll have it so that you can previz with a physical camera flip at 90 and should be physically accurate this is getting picky here but if we look at his eye light again it is screen space how's it

Look here so it's a big eye light right actually I actually don't like that it's it's soft but I don't like how that is I'm gonna focus again here like this and I'm gonna switch it for a four by and this stuff is pretty accurate I don't

Know it's it's up to the DPS to see to say like how Eckerd they want it but I switch it for a smaller source here when first person there we go and bring this down so the eye light should be smaller let's check it out yeah it's a little

Bright but that's more like the size eyelid I was going for and that's that's cinematography like that is what DPS make those are the decisions they're making on set these are the things they're looking for and we have it good

To know oh let's see what all the storyboard system yeah I think that's probably to wrap it up let me switch back to the float into my dude you can also play as a woman we're gonna make it we're gonna

Make a full character customizer so let's do a quick storyboard here go back to the standings we have a bunch more actors let's put someone on the carbon to put you on the car here and I'll show the storyboard real quick I'm gonna use

A floating camera just because it's a little faster we're gonna go widescreen gonna ISO down like this so let's start storyboarding this system here so typically you have to render you go to InDesign you go to Photoshop that's

Still possible when you take screenshots in this game you're gonna hit enter there's a sound but I don't have sound connected in here we'll have like a little preview of it show up when you take that screenshot now we have this

Wake up right just late you guys so this is a basic storyboard system and you can change the name here we can say like wide shot and the idea and we can go in bigger you can check it out the idea is to not have to route

Trip to your like your photo shops and whatnot oh that's not supposed to happen look at the board and be like we don't really like that let's like you know if the do if you're operating for a directive they're like give me options

Right so that's okay so like we'll just bang out like a ton of different shots really quickly captured that one what if we come a little bit more frontal and wider you know this goes really quickly it's like okay let's do a two shot I

Don't know what this commercial is but he's in focus or I depth the fields kind of not shallow so let me open up make a little more obvious he's in focus now I can zoom through to him his collisions getting in my way actually so we'll do

That screen shot this screen shot him and again we don't have it with we don't have take systems yet but they're gonna show with other shots where you only have the active one that's a system we can build into it this is helpful and to

See it it's like that is where the camera was and you can even like I want this a true you can jump on it I think that's interesting so you hit you hit B for now to the storyboards and we don't have

Click-and-drag for pages yet because that's hard to write still but you can you can reorganize these and prioritize which ones you like you're like oh we don't like this one we'll get rid of it change the name and if you click this

This is still work-in-progress that'll actually screenshot it it's a PNG in your project folder so you should be able to print this out that's the big ask still as much as it's like you know being on set is still very like

Old-fashioned because it works all these people who are using this they're doing previz and they're using technology at the end of the day what's the deliverable is printing it out on an eight-and-a-half by eleven many times in

Distributing it to the agencies and everybody we keep that in mind this is that workflow for them they should be able to print this out pretty easily if you have more pages out we'll have more settings and the idea to make this

Beautiful in the end it's not the greatest-looking layout but we'll make it really nice-looking so you'd be proud to like hand this off to your whoever your boss or who's ever using it so that's the storyboard system I want to

Put smoke in here and I think that's gonna wrap it up I want to do the smoke I want to show some of the particles there's so many thing that you've seen in like triple-a videogames like all those effects

We can put them in here and it's pretty fun so I'm gonna put them all in real quick I'm gonna drop this tree here doesn't have to be a tree but that's what it was give it a second it's gonna be a second I'm gonna also then put out

Some smoke back here actual when we come back this the snow should have propagated put that there here here you can hide the emitter under the ground if you want you can't get to it then so you'd have to go under the ground like

This oh there it is the snow has come here's our snow system and these are all like stock unreal engine starter content particles like most of these you could just go get for free and start using it does take a little bit of time to

Understand they worked the new Niagra system the particle systems we can do some of them react to light some of them have physics some of them are light sources themselves that can be ray traced I can put that all into this and

Make it as simple as bringing out a Christmas tree right and giving it some sort of physical embodiment that makes it make sense to people versus like spawns snow and set parameters I still think like as I'm trying to make it a

Game it's like let's put a tree in there and that's kind of a overt one it's just an idea but that's what I'm working with basically every day is like trying to take things we do on set things that happen in the real world how do we bring

Them together into one ecosystem like this so there's smoke this one's fun too so this one you can put again at an angle so like it's going up but I can do this put it on the side there's my camera and so now we've pretty pretty

Much all today and I'll switch the time of day here this is my Twilight and I have one for overcast so we just made it snowy and it is possible I don't have it yet I'd have to unify all of them like landscape materials to change everything

To be like let's make everything have snow boom everything could have snow right on it perfect look was really nice at icicles all that stuff can be done procedurally I just have to keep writing it out so here's our are this one cool

So that's gonna wrap it up for this one let me kill it jump out of this and so yeah this is in early release which doesn't mean a ton these days but my game actually is early release every build I put out which is about every

Month or so I can't legally say that I do that or guarantee it but I update about every month makes the game drastically different we add new things we're listening to the feedback from the users and again this is

Cinematography DB on instagram these are my posts from being here so far building into iOS if you follow us here this is where most of the new stuff is being kind of shown as a demo so thanks for coming and I think we're doing Q&A thank

You and and we are doing Q&A is there an option for look-up tables to import them for a director for DPS or it is possible I haven't written it yet but the Unreal

Engine has the ability to work in aces even and bring it in you are looking at I'd have to talk to the engineer is a different color space so if you put like a rec709 ariel likes a lot on this it's not gonna look the same because this is

Unreal Engine like HDR but you can't color grade it and I could write like a little UI you could bring in a camera LUT but it's it's not a camera you're used to seeing the colors of so I don't know how about translate you might get

You halfway there though something like that hey I got three quick questions here over here is it possible to change the size of the sensor of your camera is the first question it it's not an option yet but

It is possible yeah that would be cool and can you import your own geometry text your geometry the most asked question from it from everyone someone is I'm not gonna write that because that's as deep someone has to like get

Into the FBX format someone is writing it and that's the cool part about this project is like I write what I writes like the cameras and the lights everything else I bring in right so someone's writing an FBX importer a

Runtime FBX importer he finishes writing it puts it on the marketplace we can do it but I can't write it but it looks like it's gonna happen but that is gonna work with your program it would yeah in theory it's not out but like if they

Write it and it works then we can do it too and the last question is will it's kind of similar will it be possible to import Olympic files like animated characters what have you which would make the whole system a

Lot more possibly I'm not sure I'd have to look into I think first is like is there a ue4 workflow for it and then is there a runtime but it's possible it's running it's a packaged Unreal Engine project so once it can be done it's not

Something I write that's kind of like an unreal engine thing currently no but Alembic I think it's coming I'd have to talk to Unreal Engine about that but currently no hi thanks for the talk we are currently working on a not similar

We are doing also runtime stuff in Unreal Engine for aqueous and stuff and have you found a way to get into the like some sort of not support to get external content into unreal in a runtime at runtime for like

A packaged game yeah it's definitely C++ which I try to stay away from but you can with like the procedural mesh component if you wanted to write it you'd have to you'd have to read the FBX in and then rewrite you basically

Rewrite the triangles and rewrite the UV is one by one that's like with an importer or have you thought about for like more unreal engine focused people to make it possible to use like some sort of raw project files like and they

Used on like our key survival evolved so that as you can use like the Unreal Engine to add new assets to it so to don't release it as a package builds but releasing it as like some sort of project file which is locked down or so

Yeah we haven't gone that route yet but through Steam Workshop that we might be doing to the Epic Games store which would make sense um it is possible we haven't done modding yet I still don't know how modding works I know bus

Simulator does it like you can add buses into that it does require people if you're using Unreal Engine you're in a good shape but yeah I think importing you like if you package a proper you asset I think importing that's actually

Pretty straightforward because it's the it's the same format but we don't do it yet I haven't I haven't figured out modding yet how it really works I think you just sent answered my question but it was going to be did you write it

Entirely in blueprints it's like nineteen it's a hundred percent blueprints with like some C++ stuff that like needed to be C++ basically and then a lot of plugins from the community you know like I can't I

Only been doing this for a year but I'm able to pull from like the whole development community everyone that makes plugins and assets for Unreal Engine that's how this happens if I had to make even half of this stuff it would

Have taken ever have done it so that's one of the cool things is I can just pull in somewhat like all the file IO stuff is someone else's plug-in right so they went to C++ exposed everything and then I have all the blueprints and

That's what waiting for the FBX import or someone's right now on the Facebook group I think he's gonna make it live soon and I'm like I'll buy a hundred versions of this you know when it comes out he writes it

I'll make a little dialog import an FBX and you know so it's like kind of a it's a cool thing with development right now is that we can do that I don't have to actually write it because that would take me like to research the whole FBX

Format and right that would take too long for me yes I have a question on real locations how does it work and how is what's your thoughts about research education research and implementing it and using it in New York so we don't we

Don't have anything currently that would be like we take like geo data and bring it in but I think it's I think for most previous or the previous that I'm looking for like this is like these are quick sessions is to give someone that's

Like options that it's close enough it's like we're in the forest we're at like a city and keeping it general that's my first attack is to make like generic one so people just like I've got five minutes we're in a city he's standing

There there's the car that's the shot I want that's what we're doing but does say a scanner exists which can oh yeah together do you do scanning it out like so next thing okay yeah so I've done a lot

Of 3d scanning the workflow is still pretty laborious to get it back in but yeah technically if you had a lidar scanner and you meshed it and you had you have to have an artist prep it so it's not like you know directors are

Doing this it is definitely possible to do that scan scanning scanning scanning to BIM – unreal engines like a whole different talk but that stuff for looking at I think apples actually the one who's gonna make it for consumers

Like next next next gen iPad with like a arc it for you just like scan the room boom I'll have the iOS integration already you just bring it right in that's the whole I can't I can't speak for any of them that's great we're out

Of time thank you very much command workman presentation

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That clip comes from our new short classified mission renegade over the next few weeks we'll have tutorials for the effects you see in renegade and today we...
In this tutorial we’ll be covering how to create the bullet hits effect from our latest short, Renegade. This scene used stock footage from ActionVFX, who have ...
A good title sequence can help set the mood for your film. Today we'll be taking a look at how we creatd the title for our short film, Renegade, using stock...
When we made our latest short, Renegade, we knew we wanted to include a Mission: Impossible-style timer. In this tutorial we’ll take a look at how to create one...
Hey guys, welcome back to another video. Today we're going to be covering the behind the scenes stuff of Renegade; how we did it, what happened and what we ...
Hey guys, today we're going to be looking at the VFX Supervisor and how you can prepare for visual effects. When producing visual effects it’s never as simp...
Hey, this is Axel from FXhome, here with a tutorial on using Blend Modes for grading. We will be looking primarily at Imerge Pro in this tutorial, but the techn...
In today’s tutorial, we’re going to be looking at satellite surveillance and image stitching. In the example sequence, I use footage from a DJI Spark for my end...
A shaky camera can be a good thing or a bad thing, depending on the type of film you’re trying to make. It can increase the feeling of danger and put you right ...
Today we're going to be talking about camera psychology. They say a picture is worth a thousand words, and in the realm of film production that couldn’t be ...