This course covers advanced compositing techniques in Flame and Flare, taking examples from shots done for Cosmos, A Space/Time Odessy. All of the work will take place in Batch. Material to be covered includes color science, advanced keying (hard shots), camera tacking, particle system, sapphire sparks, and applying advanced compositing science to flame.
Note: since much of this course covers examples from a broadcast television series, limited footage will be distributed with the course. Footage will be provided for the keying lessons, however.
Project setup and color science. We talk about project setup and color space, and run through a quick comp to see the importance of these in practice.
We continue with advanced keying. We explore how to prepare a plate so that we can use all of the range for creating maximum edge quality and levels of transparency. We also look at how to de-noise a plate without losing any fine detail or grain in the final comp. We also explore how to create a manual edge wrap, and how to combine several suppressions to get best edge quality.
Keying, Part 2 (Difficult keys). We'll get into managing the background to fit the FG. We'll talk about how color grading is essential to making a seamless composite. And how to check your work using a few preset screen luts and the exposure control.
Camera tracking. The camera tracker in flame could be easier but there are steps you can follow to insure an excellent track on just about any shot. Also we'll discuss why tracking is important.
We'll show how to use a projector for finishing up the shot from the previous lesson. We also cover how to leverage the axis created by the camera tracker to create a solid layout, focusing primarily on a solid ground plane and correct perspective.
Particle system introduction. Here we attempt to get the lesson over their particle fear, by showing two examples of shots using them. We cover all of the basic controls of the particles and how to re-purpose the presets.
Working with action to create the spatial relationship between the elements in a scene. Will discuss how to animate and light a shot using action.
We talk about creating a node based comp from our render passes, with special attention to Color Divided, Filter Multiplied.
We talk about adding overrides to track cameras, and leveraging tracked cameras to do all of the roto for you.
Reflections. We talk about reflections and how to create them, but also their ramifications for solving other problems.