![]() John Fegan retuns to finish up the project. You can use the techniques discussed on almost any log exterior footage. But we also look at how to add the final decorations that really sell the shot. The main techniques used are color correcting and g-masks. Sam Edwards examines creating a day for night shot. John Fegan goes over the offline workflow process for the movie "Cronus" in preparation for bringing the entire feature film online in Flame. Scott Balkcom gets away with murder by using the particle generator. Scott Balkcom polishes and finishes up the snow particles for this leg of the project. We pay special attention to the ability to invert the motion of a bicubic surface to tackle a project that would have been very difficult without. Sam Edwards looks at a real world project using the extended bicubic for beauty work. Using the particle system, Scott Balkcom begins the next mini-project by adding snow to the previous breath scene. Scott Balkcom uses the particle system to create cold weather breath, creating the texture and manipulators from scratch. We also cover some advanced scripting and the difference between 'shape-channel' on and off. We see that there are certainly plusses and minuses to this workflow, but gain greater control of these new surfaces. Sam Edwards continues with morphing with the extended bicubic surface, by creating a tracked morph. Footage and LogicOps are provided as a batch setup for you to use in your own work. Sam Edwards tries to break the new extended bicubic surface by using it to create a static morph using UV’s and Vertices. He’s recently completed a short film where he served as Avid Editor, effects artist, and finisher - and will be showing a solid workflow to help you get your job done efficiently. He’s been using Flame for commercial, eposodic, and film work since 1993.įlame is the hub where it call comes together at the end of the project, and to that end our last prof John Fegan will be sharing job-proven workflow techniques. Balkcom will be showing how he uses particles to create realistic effects such as cold breath, snow, and even blood. The particle system can be quite complex and intimidating for artists, but his series of four lessons aim to demystify the process. At IBC 2013, he was honored with “Recognition for versatility using Flame” as part of the Flame Award event.Īrtist Scott Balkcom is a particles guru and will be sharing his tips and techniques for the first time with fxphd members. Edwards is a long-time flame user and owner, having recently composted over 250 shots for the new Cosmos television series. From how to push the limits of morphing and warping techniques in Action to production-proven tips for cleaning up motion-estimated time warps. Returning from his FLM208 course, Sam Edwards leads several lessons covering techniques artists can use every day on the job. Our Flame Masters course speaks to resurgence of the community, bringing three artist perspectives to lead the course. ![]() The releases after the Anniversary edition have seen substantial improvements in stability and creative features, and free training editions have made the software more accessible to artists who want to learn Flame. From a strong user-created Facebook community to user-led groups in New York, Los Angeles, Berlin, and other cities around the world, artists are once again excited about the software. ![]() The Flame community has seen a resurgence of interest in the venerable software.
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