With a career spanning over 10 years compositing using smoke and flame, prof Joel Osis started at channel 9 in Sydney Australia working on broadcast promos, followed by freelancing for several post houses and then ending up at Engine in Sydney Australia. He now works fulltime at Tendril in Toronto, Canada as their Senior Flame Artist. You may also know him from his free tutorial sites joelosis.com and fishbowl.tv. He was an official Flame Award nominee and has won several world promax awards.
We look at how Joel sets up his projects and a few essential preferences to enable to avoid screaming at the flame, we then dive right into the first of the 4 shots that will be provided for this term, looking at plate prep,clean up techniques and take a stab at the first pass on our keys.
We dive further into the shot from class one and look at several different keying techniques that can help with keying what wasn't shot too be keyed by combining multiple keys and using only good swipes for the edges. We will also be making our own reflections using bump displace and blend modes with a little help from the 3d reflection pass.
Now that our keys and reflections are in place its time to build the main comp inside of action using fbx and camera projections we will give life to a static shot using the diffuse projector, along with taking advantage of Actions multiple outputs.
How to finish the shot... we look at several techniques that get a shot over the line, lightwrap, edge blur, regraining, chromatic aberration, final colour tweaks and our good friend sharpening.
We move onto dealing with deceptive shots(i.e. CU lock offs)... you know the ones you look at and think that will be easy. This shot will present several challenges even with a perfect key, we look at cheat to avoid roto and how to take the shot from hurting your eyes to feeling good about it.
This next shot we take on we will cover lens distortion and explore advanced keying techniques for dealing with hair and maintaining pristine edges, we look at combining this technique with the traditional keyers and how given the right circumstances it can save your but.
We have looked at deceptive shots now we move onto "just make it work" shots, we build a bg from a mix of cg that was made for a different shot and create a nice comp from a challenging green screen with dynamic lighting going on in the bg, we also look at adding our own lens schmutz using a still of lens dirt then piping it through the highlights to create an even better comp.
We will be taking a look at flames planar tracker using it on several shots and exploring the best settings to make your track solid.
Cinema graphs are becoming more and more common to create these days so we will be looking at creating one from scratch inside of flame using only a photo, we will explore looping animations, substance textures, substance noise and camera projections.
This lesson will be dedicated to day for night techniques , we will be exploring how to do this convincingly and we will explore some of the common pitfalls when doing this technique.