It's happening It's happening Hello, hello, hello, hello Hello friends. It's all coming together Look at all these people wait. I'm I'm prepared. I'm prepared. I promise Hey, Jeff. Hey, I am prepared for this moment Wait, yes There it is It's like a regular episode of logic live, right? Wow, look at all these people. This is great You know, I was thinking to myself even if only one person shows up I could talk with them for an hour. That'd be fine, but this is more than one person Great to see you all and I know you might not be able to see everyone right now But I just wanted to have this opening on for those at home at YouTube Hope everyone's having an excellent day They just keep coming So this is a bit of a different platform today but We've done it before So it's not too out of the question. Oh, man, that intro is so short Wait, wait, I know how to do this stop share Hello It's different. It's different and it's not I'm not used to it, but that's okay This is a lot of people and this is awesome. Thanks for being here everybody I think people are just gonna still keep popping in potentially but The plan for today is just what you'd expect a hangout catching up And it is gonna be going up on YouTube once we're done So, you know, be careful about any NDA stuff as you all obviously would but before we jump in to the fun part I Think I'd still have to go through the normal routine of announcements and sponsor messages. So I practice this I practice this I'm gonna mute everybody and You can turn your camera off if you want It's I'm just gonna talk through the normal slide show as you'd expect for a couple minutes But we'll be back in a second Where are we there it is Okay, I think we're good This episode of logic live is brought to you, of course by AJ a and they've been together since flame with flame since 2006 If you need Boris effects plugins, you can say 15% on all the Boris Boris effects products now including Sin thighs joining up with the other products here on the screen available with a great discount if you use our affiliate links right here Head on over to logic TV slash Boris effects and click on one of the links there to lock in the awesome deal We do have a merch store of course and I saw a handful of people with their merch at the New York City user group last week Which was amazing So if you want to be cool like them and be the proud new owner of a logic fanny pack like Brian Bailey Or pick up t-shirts stickers notebooks airpod cases phone cases and more stuff by the merch store on the logic TV website And now of course we acknowledge the heart of the logic community the patrons big shout out to everyone helping to support What makes this right here keep on keeping on this is our up-to-date patron list just updated it right before the show Thank you to everyone on this list Clocking in at 158 patrons as of this week big. Thank you to everyone here for supporting the community and help it grow and to thrive If you want to support what we're doing here on logic You get a few bonus perks most notably the post show logic live patrons Q&A that I usually talk about for For this show, but it just so happens that this is a very special show and the first show in many that we won't be having the Patrons Q&A but in general you get to hang out with the guest of the show and dig deeper ask Specific questions elaborate hang out with the other members of the community But in general your support helps keep the lights on and keep this moving so it's very much appreciated Head on over to patreon.com slash logic TV and support for as little as five bucks a month And if you haven't heard about it already logic Academy Pro is a learning platform with a monthly Subscription to connect to you with a handful of diversely skilled instructors with the goal of helping you level up your flame skills Randy has poured his heart and soul into it over the last few months with a plethora of tutorials and partnerships to make it a Very well-rounded way to level up your flame skills no matter what level you are in your career But with extra attention to those looking to break into the flame world Big thank you to our current members of logic Academy Pro and as a little bonus we're giving away a free month It's a logic Academy Pro at the end of the show So if you're still here by then you might be a lucky winner and A huge thank you to everyone who showed up for last week's New York City flame user group It was the first one in four years and it was really a blast Wonderful success. It was a great space great conversations great people Great presentations by Brian Bailey, Jan Clire, John Geering, Andy Milkis And special guests Fred and Stefan from Autodesk and here's hoping that it's the first of many These are some of my favorite pictures from the meet-up But if you want to see the rest you can find those pictures on the forums under the New York flame user group on 117 registration link thread. I think the name of it is called Had a giveaway Ben Murray was the big winner. There he is There's the fanny pack of course as I mentioned And with that user group behind us it's time to ramp up for the next one the Chicago user group It's coming up fast. It's not this coming Wednesday, but it's the next Wednesday after that It is Wednesday February 7th at Flavor Chicago address up on the screen. It's 515 North State Street sweet 2500 You can expect demos from Andy Milkis Brian Higgins and Randy McInty with special guest appearance again by none other than Fred and Stefan from Autodesk We got a taste of what they had to show at the New York user group And let me just say that if you aren't a member of the flame beta and you don't know what they'll present be presenting and If you do some decent compositing in flame you will be very excited to hear what they have to say But I'm not gonna spoil it and it's not gonna be recorded So make sure you RSVP for that meet-up and show up You can find the RSVP links on the forums under the Chicago user group thread or in the email that was sent out earlier this week and That's it We're on to the show. I will Guess wait, wait, wait allow people to unmute themselves. There it is So now you can unmute yourself. I don't think I have anyone waiting Hello, welcome to what's everyone working on? I hope you're all having a great day so far I'm down to start us off. Oh Tim frail is not having a great day today Well, it's okay your plants are beautiful. I'm working. Oh You're working on it feels like you're usually working on the weekend You're leaving that song Everybody's work. Um, well, I'm There's not too many people here So we could probably just treat this like a normal if you're familiar with our patrons chat just to kind of chime in I'm down to start us off. I'm and I had a question. I was thinking about this. Look at me being prepared I'm working on I was working on a couple of normal commercial jobs So for those of you who are used to commercial jobs, maybe this is for you Something came up that comes up once in a while. I'm not gonna say every time but it's decent and It's that we had a job with multiple aspect ratios, which is the norm now and We had comps like the end card had some comps But the catch was that different aspect ratios had different positioned elements to those comps And so I've come up with a nice Solid way to handle that that I like that makes sense to me, but I'm curious for those who Run into that. What's your secret solution? There's special solution to a comp that needs to be rendered out multiple times for different aspect ratios Do you do anything special to it or do you muscle through it? Any any insight I saw through muscle through it Pretty much. Yeah, this this discussion has been going on for the last Six months, maybe maybe even before that how to like deliver all the different aspect ratios especially now with taking social media Like nine by sixteen four by five one by one and even sometimes digital Weird aspect screens so I don't have a secret source. I just muscle through but I hope The developer team is looking into this Yeah, maybe I mean I mean the reason I mentioned it is not exactly to I mean Obviously, we're always the whole point of us being here in this call is improvement. We're always looking to improve so I'd love to hear if anyone has a cool solution But maybe this could be something that I could maybe it's like one of those things that I could show off at some point With like a video tutorial or something, but my solution I'm using publishing a lot and open clips and stuff and It can be tricky with publishing to like branch things off, but a Simple solution for me if you are publishing if you have that right node And you have your batch The way that I've found to branch things off That's I think a nice elegant solution is to you duplicate that right node And then you like label it explicitly like nine by sixteen and you have to carefully rename it in all of the areas like The files have to be called nine by sixteen now the open clip I speak of nine by sixteen the batch setup if you want to save that separately and then I use Jeff. What was that? I can help you with that When you're you're a republished or something published your published right nodes. Yeah They all get a special token shot name, right? and that token is Repeated throughout those files open clips and and setups So the only thing you need to change is the shot name Which is that little box in the bottom left if you just add an abbreviation to that so it's I know shot 50 16 by 9 then that proliferates around throughout all the All the file paths that you're talking about so you don't have to do it three times. Yeah. Oh Oh But the thing is I want to keep it in the same batch because I don't want to have to update two batches I want to just update one batch. Yeah, keep it in the same back It's just modifying the the not the clip name, but the shot name It's not necessarily obvious where that is But it has a little separate box down on the bottom left-hand side of the right node called shot name And you just added extra bit to the end of the shot name and then because that becomes the token throughout the file path You only have to do it once I'm always I'm always doing that for Free comps and and branching off same right node just change it once and it proliferates throughout Same so you don't even duplicate the the right node. Yeah, dude I do duplicate the right now, but I don't need to change the file path the clip name and the open clip name I just change it once in one little box area and it and the token takes over. Oh so so the the the work the Shot name field is specific to the right node and not the batch. Yeah Yeah, yeah, the shot name is specific to the right node and the batch and the shot name is part of the right node And that's the only thing you need to need to change Just makes it easier and less less easy to you know less likely to make a mistake or a typer or something I'll know I'll mess with that that sounds fun But I guess that the end of what I was going to say was I had so I have that second right node now And then what I usually do is I set up a series of MUX nodes To switch between the two different outputs So like Yeah, and I have one out one MUX node at the very end just before the right nodes That's that's my switcher and I link that to all the other MUX nodes That need to be have things switch around and then so when I just keep the order correctly So my the highest right node will be like zero on the MUX and the next one down will be one And then the two two I usually need three And then yeah, it switches all of those MUX nodes and it and it I think that's a cool elegant solution to that problem But I think you're right Synon that the dev team could use something built in that's a little bit more elegant than that because it does take some Brainpower to keep track of that Did you read Chris's? Sorry, if you're doing a specific like end card for 9 by 16 you're rearranging Position on that specifically for that aspect ratio, so I don't know how the dev team can really do like a You know a magic fix for something like that Maybe just have something in place to because I Don't know because it's still a new setup though, right? You're still having to do the work specifically for that one weird aspect ratio Yeah Might be close to your four by five But it's gonna not gonna be different and then the client wants to get something closer to the bottom of the screen So you're you're always messing with with with with something Yeah, and then and this has been a problem in feature films for forever because Scope you have a flat you have some crazy guy that wants to do like a 2.15 aspect ratio Yeah, this is this is going on for a lot longer than just the the social media revolution Yeah, that's true. I Don't know. Yeah, I haven't really thought too much about what a dev solution could look like for that but maybe just some easier way to Be able to branch batches write nodes off so that it's a little bit more simple But yeah, I don't know You know, I basically just muscled through it like Sinon said but what I try to do is I try to keep at least my footage connected So that when they I if I have to redo a comp for instance, I Replace it in one it replaces it in everything and that way I don't have to wait till everything's all approved before I go ahead and do the do the socials But there's no automatic button. It's gonna ref reframe and reformat properly You know, you have to go through and check every shot and often you have to build new titles because they just don't work You know formats and you know, there's gonna be no magic button. That's ever gonna fix that No, definitely not.   Did I sound bitter? Yeah, I started running up against that too.  Yeah, I mean There's a much picture I remember I made a I was doing an ad and it had a pretty extensive legal text for that And so the legal text had to be in the middle of the screen It was like covering up most of the advertisement. It was so stupid Yeah, sometimes what some clients do is they'll just letterbox the full picture in that area just leave everything else black Yeah, that's an option People really watching it anyway They're trying not to But yeah, it's great insight and thanks thanks for that picture Richard I think I'm gonna change the way that I work in that one But I think the big reason that I bring it bring up what I brought up was Because I think the first thing that came to mind years ago when I was first starting this was to just make a different batch Like duplicate your batch now you have a separate batch But the annoying part there is you update like you give a change you have to update one You have to update the other and that bugged me and that's when I came up with this idea of using muxnose to switch between two different outputs and I think that's where maybe there's room for dev involvement Because I one of my biggest annoyances is you actually you still have to render that out two times You have to like carefully set your muxnode and then render out the one version And then when that's finished you carefully set your muxnode and then carefully set up your output So the correct write node then render that one It would be really cool if there was some way for it to Like know that it's rendering know what's going on and like be like, okay I want to render out my two aspect ratios Mux zero is this one and mux one is this one. Maybe there's Python room for that, but I don't know I haven't figured out Could be something interesting But that's fun. I mean Chris Chris came up with a wacky. I think his name's Chris. He came up with a wacky Alternative where he used a single open clip, but just shut offset the frame count Kind of confused me a little bit, but he would have you know between zero and 100 bees clean plate then between 250 and 350 would be Comp and all that kind of stuff, but Yeah, it was an interesting approach, but I guess I guess that way then you could you could press one render and just have a Constant change to the position, you know, like oh That's a cool idea. I think we just flip over and then it would be it but it seems I often just have I Often just have I try and encourage open gate and do all my comps Open gate and then the very end it branches off into and it's mostly titles that give me issues So then I branch off into into a little stream and you can you can kind of do them both at the same time And then click render or render two different. Yeah that kind of branching Yeah, well, I mean not a lot of people use it, but we still use bfx so I got my timeline for nine by sixteen sixteen by nine, but the The comp is done in 4k within the bfx and then what I pipe out then I can reframe sometimes we shoot for Vertical and horizontal separately and that's when they get the material to be switched between the height and width versions but usually I have everything in full gate like you said Richard and then do the Use the action timeline effects to like frame it Do you run into any issues with bfx? I know it's it's slightly a touchy subject in that It's it's one of those divisive ones of some some people who are against bfx find that it Similar cut keys or flame hot keys, but I've always used bfx And what when we were when I was supervising at a big facility back in Turkey and here We're still using bfx. We're just like a two-person team two people team and it serves all our purposes It just works great for us Old smoke in that time. That's a lot because that's all we have for the longest longest time. Yeah. Yeah Yeah, I wonder if some of the issues that people are afraid of where things in a past have been fixed I mean our few speed effects in the last Year and a half and all the things that people always are afraid of haven't happened to me That doesn't happen mean that they might happen at an inopportune time Yeah, but it's not clear that we so many people have shied away from it But we may just not realize that it's actually decently stable at this point. Yeah, you know, I don't use it that much I usually only use it for quicky stuff You know a quick cleanup on the right on the timeline and the reason isn't that I don't feel it's Unstable or unworkable or anything like that. It works as good as action But the fact that it doesn't connect well with other things So if I have to swap out the footage and I've got a complicated via BFX Then it starts to be much more difficult to swap shit out. I Quick things to I mean I use it for like I'll start doing my big things in a regular batch setup But then I'll use it for like titles or you know something that I know is going to be moving around that'll It'll render quickly because what ends up happening is if I don't it'll end up being a big comp And then it will every time I move it or trim it or do something else you have to re render And so then you can always do the secret, you know pre render a thing and have that pipe out But it's just still kind of boggling me down if I don't have a render done Yeah, it also seems much more friendly when you're actually with clients, you know You just plop right in you don't have to like make a batch prove and put into a thing there, you know That's a good. I mean it is like a lot of these days like the last three really I've had to go in like like like five days Well, I would I would insist that once you at least this is how I feel once you feel Real comfortable with publishing publishing feels very very quick to There's still more setup than hitting than hitting ship tab It's it's more setup. No question. But we're talking I can publish something in 10 seconds Well, I I publish all the time and that's not the problem the problems when you've got a room full of people And they're all looking at you and you're like, okay, we got to get all this done And it's got you know, I got to get to my golf game by 430.  I I think I picked up a some laryngitis in New York, so Yeah, blame New York Damn, I'm sorry to hear that though, that's all good Um anyone else working on anything cool. That's the point of today Sorry, what's shift up to Shift tab what is shift tab Michael? Oh, maybe it's control that gets you into the soft the soft effect that brings up the The effects where I've been in small problems that that uh, that gets you into bfx Cool. Let's just click Small cockies Small cockies, yes Did I see uh Sinan raised your hand, but I think that was the one that I saw I mean I recently finished like a really nice commercial if I can share my screen and if you have 40 seconds to watch through it I'd love that. That's definitely the point of today. Here we go.  You can share Okay And if we don't have too many others I'm down to share my screen about something then I'm working on to you later It's this let's go for the director's card Oysters Yes and no Okay, here you go We'll have to imagine the sound but that's all right subliminal Wow, what amazing food his milk is not here This must be a european commercial it's for the Super Bowl Or for some infectious disease doctor one of the two. I'm like can you imagine this on the Super Bowl? That's is this a ton of I can't even imagine this being aired in the united states. That's exactly what I was thinking. Yeah, I love it. This is Fantastic We did one at A few years back 80 razors Called shave your bush or trim your bush And it was all of plants with you know cubic hair shaped You know bushes and Panthers and stuff. It was really weird and I didn't think it would ever air it had aired a lot Wow, it might have to australia Wow, so now that's an amazing commercial very well done. This was for like condom area, Norway's biggest adult store Five years ago just before I started working here. They did the first one. I don't know if you heard the music. It's Vivaldi's Four seasons So it's sort of cut to the beat And that was more light and colorful because it was all sweet And desserts, but now this one is darker in tone with harder images. I guess I can't wait to find it on youtube and share it Well, yeah, I'll share it Yeah, I want to see it. I want to see it and with the sound and Yeah, definitely. So I can't wait to get it. Yeah, all right Uh, is everyone on discord? Shall I share it on discord? Oh, yeah, do that. Okay works for me What kind of uh, can you tell us anything about how it was to work on that? What did you have to do that was Yeah, what's what's what was something? There was no heavy lifting actually it was just brags. I mean, this is like a cool commercial that I worked on It was nothing like a lot of stuff just some minor Blind removals like basic masking and like Erasing some stuff, but that was just it But I mean for brags, it's it's just great to be in such a work. Good for good for a bit human. Yeah You know, some of the favorite commercials I like to show that I've worked on over the years I had very little to do with but they were just so well written and well shot You know, it just felt really good to be part of that whole spot Yeah, I know that feeling Maybe we should do a pod. Maybe we should do a zoom on stuff we've worked on because it's Tough to show stuff that you're working on now Yeah, at least for me like everyone's nda every job I work on it's like beyond Yeah, hush secret, you know, I think maybe it's like a more of a hey bring a spot or two next time and You know show it and do a quick. Hey, here's what we did kind of a thing Yeah, no other discord channel. We have a work showcase sub channel I mean, maybe we just add this to this discord and then people can just share when they have something Oh, I love that idea. Yes That would be great Because I think we all have different things and you know, I think it would be a leader curation of Images rather than just having stuff on youtube and looking it up I mean, we all have pretty unique stuff that we work on and being able to see the stuff that happens around the world will be cool Absolutely, yeah, and just I think, you know, the people who work on tv shows That's a whole different world than the people who work in commercials versus David who works on museum installations a lot of the time. I mean, it's a very very diverse bunch I love it Well, I can't show anything I'm working on a super bowl spot right now. Yeah You know, I can see the mms. That's me Oh, very cool.  This is why I missed the music group. Same job. I'm working on.  I've been here.  I really missed you tim. I was looking forward to what you had to show I hope that we get to see it in some way one day, you know, what I had to show actually wasn't all that Great and part of the shit of what I was going to show was when I Went to finalize it and polish it all off. My great idea didn't actually work anymore I I don't know why so I was going to make that part of the thing But it it wasn't that great, you know, oh, I think you sell yourself short. You have great stuff I was groping a little bit, but you know, I wanted to do something Um, did anyone else have uh, some recent stuff to show? I have something I mean, I can try I can try to show you The 3d thing I've been working on for three or two months I can only show the first part of it though because of nda Um, but I don't know what's gonna play because I'm gonna be off my cell phone You know the the puzzle thing were you in on any of the conversations? I Yeah I've got it, but I don't know if it'll play on this so I may have to post it later, but I can try Okay, well, I mean, maybe you can uh, if if you're not too busy driving because I I was there for some of the I pulled over. Oh, okay. That's good. That's that's safe. Thank you If I if I can't play it here, then I could probably do a Logic live and go through all the stupidity that I have Yeah, if anything fill some people in on some of the adventures you have a good story so the the biggest the biggest issue was the This is all green screen the whole thing bunch of and and the thing the scripts changed four or five times in the process of all of this but they had a Really cool art piece done for stills for this so we were shooting video in one studio and shooting stills in the other Um, and they did this puzzle and it was all and they they created it in cinema 4d And and it looked for print. So it's super high res the plates are like 25k. I mean, they're huge and so They look it looks really nice for print So they do the side of a building and stuff with this it looks really good But they wanted me to take this puzzle From cinema 4d and animate it into this video And that sounds easy and all except for the fact that the guy that did it's a still guy and he didn't map the The UVs he did projections only so when you move the polys they the Faces move off of them and it's a bunch of different faces with different pieces of each face in each puzzle piece so it more it looks like a Uh, I don't know like a montage of people's different skin color faces because this is about dermatology for people of skin of color And uh, it's pretty pretty cool piece, but I went through hell trying to figure out how to get it into flame so that I could animate it and then I even tried to animate it in cinema 4d and it broke so uh Trying to consolidate this down. I I bought licenses did it all couldn't figure it out I had another guy who was an after effects guy who knew cinema 4d enough to be dangerous and he couldn't figure it out Uh, I met him through my job at carbon So and we couldn't get it figured out. So I I was uh, searching. I was throwing out my last run. I was searching on Uh, I went to linkedin because andy or not andy Randy had told me that Posted on linkedin and somebody from that world would reach out. So I searched on hit, you know, I searched on LinkedIn and I saw a cinema 4d artist that was affiliated with randy and he lived in Uh-oh, utah, utah. No, it wasn't utah. It was somewhere else. I think it was utah. I can't he lives out in the middle of nowhere But I I invited him to a conversation I was like, uh cool because he did he did um He's a maya guy and also um, what's I don't remember the other 3d program That's big and he's he's big into that too, but he also knows cinema 4d. So he looked at it remap the uv created uv's baked all the textures relink remap and you know Rebuilt all the polys and everything and maya output it to flame and for flame and sent to me and it worked Uh, we had a couple of issues with flame With clipping the camera near and far and that has to be set right or the polys break And um or the textures break on the polys and stuff, but we got it figured out and it and it actually the client saw my first pass of this animation and Loved it so much that they the client come in And then they made me reverse it at the back end and i'm like, oh no But I got it So it it actually works really well if you have everything your uv's are correct the textures are baked And the poly counts high enough Uh when you bring it in it works great in flame you can relight it and everything else But if it's if one thing is not right, it's a nightmare, but we got it So I was I don't know if I can share my screen or not. I can try to play this but Let's see if it'll work But it is uh, let's see screen. Yep, you can share your screen now I start Probably gonna show things it shouldn't you don't know. Can you see my frame? I oh Oh, I see myself. Jeff Oh, sorry How do you see frame? I oh yeah, we can yep. Yep cool These are all people on green screen Textures and stuff on if they wanted here goes Wow, that's great That was it. I can't show any more stop Yeah So that's That was three Months worth of stupidity to get that figured out. Wow. It does look very good It is estimate So but yeah, later. I'll be able to show more but I gotta forget how to turn off the screen here But uh So yeah, it's uh Thanks, it's I mean, it doesn't look like a whole lot now, but if And all but if they came to you and wanted to swap out a face you could do it that easy, you know Yes, that's the beauty of bringing the 3d into the flame. Isn't it? You know, you can Do without having to re-render it and out 3d and stuff. Yep So it worked out real nice And I mean the hardest part for me was getting the lighting to match what they had in cinema 4d because they did it with ibls And the ibls did not match when I brought them into flame and I didn't know the settings of where they had it in space and all that and Even though I got the numbers out of cinema 4d.  I'm just going to relight it with my own lights, which I did and it worked great And I I cannot believe That I could get this quote, you know, I could bring that puzzle piece to Dead-on camera and it held up Because of the size of the plates now. Here's the funny thing In my batch group working on this it was slower than dirt But when I brought it in because of timing purposes, I need I created a bfx over the top of the background because that background Has to merge into another shot And it was the easiest way for me to do that So I brought the batch into a bfx And it was five times as fast working in bfx with that 3d than it was in batch itself And I could not for the life of me figure out why But I was like, oh my gosh because I thought I was gonna be That's crazy. It was crazy Because that doesn't make any sense to me. I'm on Linux. I'm on a p6 20 with a 39 75 thread ripper or all that good stuff Could could it be the size of the canvas that if In batch the side your pixel resolution was the overall puzzle piece versus if you're in the sequence It's the sequence resolutions. You have way fewer pixels. It could be It could have been but I I built the batch groups at uhd and the timelines all uhd. So I don't know why um Because I have to build it it I had to maintain it at 12 bit uhd in order for they're putting this on a gigantic wall in a booth And people are going to be six feet away from it. So I have to have it at least that or it's going to fall apart We did testing with it, but it's It was pretty neat and then I it goes the other way So it comes on the screen and then comes at you at the end and reveals the logo and stuff behind it Which I it looks even neater there, but I can't show you that until It's out in the world because then you'll know who it is That's And now I'm gonna get in trouble No, I mean, I will say if you need me to edit that part out of this video I could but if it is going to go on youtube, but uh, you know, you probably should edit because the file name gave it away Oh, is the file name in there? I didn't see that. Yeah, the file name wasn't there. So you should edit it out If we could blur the file name, that would be great. You gotta blur post blur Or give it to me Okay, I'll uh, I'll fix it up for the upload. No worries. You don't mind because I don't want to get fired It's been a good job. I mean other than the fact that the With you know, might the agency has to learn to manage the client a little bit better, but It's their first time reach that logic live has don't you know, it's instantly going to be Hey mark, do you mind if I ask you a question about your 3d inflame? Yeah So you you um, you said you did some relighting on the puzzle pieces yourself inside action, right? Yeah, I reloaded. I really like all that Was that by using geometry and and setting up lights and stuff like that? Well, I just used the lights I used lights in there and moved them out behind the camera and then I turned on shadow casting and set it the way all the you know decay and everything I wanted and then The background I ended up As I said, I brought it into a bfx because I needed the background to be the same So if you saw that when it transitions out There's the same background on the next shot and it needed to match and the lighting needed to match. So when I did that Um, it worked fine, but it also cast those shadows on the background that was already there. So Uh bfx worked real good. I'm gonna tell you Yeah, and I was shocked that I could work faster in the bfx than I could In batch itself. It was making me crazy That I couldn't that batch was choking on me so bad and I'd never had that happen before Yeah, it's good to hear working in 3d. Good to hear a good bfx success story then Yeah, it worked great for me and I had I ended up having to use bfx for almost all the graphics because they They go across multiple shots on the shots transition in the background A certain way and I I needed the graphics to be over the top of multiple shots and doing that batch will be a pain in the world but It was easier to use bfx for all that Mark, what was your uh shadow casting type? Because I always like mess up with 3d vs i'm 3d vs i'm All those different stuff in the shadow cast node I'd have to pull up and look I don't remember Okay, but I mean if anyone has any like experience with Shadow casting in flame I played around with a lot, but it still bugs me that you have to have those two Types of pop-ups. They need to be the same, right? And I don't know why they are there like separately And I I can't for the love of god figure out what they mean or how they work out Another recent job. I had to do cast shadows, but I knew that the agency was going to Mess around with it with the With the direction of the light and the diffuseness of the shadow so I ended up like Having it was just a text casting a shadow So I made it 2d text and an image flipped it drowned and blurred it or adjusted it With skew so it was like Like a shadow not manual shadow not but cast shadows Don't like a burn on my side Well, the other thing we used them for which worked really well Um, I had paco helping me on this to give him some experiences When we had multiple people that were on different green screens And we needed them the light to come from the front and cast a shadow on them We did it with that too and it worked great so Because it held the shape of the the the cutout and everything it was pretty nice So we had some good luck with this one for a change Yeah, it sounds like it. I haven't done it with 3d, but it's I mean there's a lot to it. I'm sure I do a lot of lighting those layers like that like photoshop layers. There are a lot of things that are Composited pretty deeply A lot of the more things that I work on a lot a lot layered It uh, it works great for that Linking a light just to separate the layer you're working on, you know, whatever so you can you can tune the brightness and then Like for things like a firelight and stuff putting expressions on the lights, you know How to pull some of things to make it, you know to make it look like you know that's going on too is That stuff works really well the lights and the shadow casting works pretty well too Depending on sometimes the z sort stuff gets in the way of things that you got to Yeah, that we had problem with yeah, we had to make sure that on all the polys We had to make sure we had them in the right order or then yes As you saw those pieces flying in if they were out of order the shadow wouldn't hit the right pieces down Dream so we had to make sure that stuff was all correct. Yeah down But all right, well, I hate to run but I gotta go because I'm about to drive into a place where I need to focus Okay, good to talk to everybody Awesome all right talk to you and there goes mark I just finished a aspect thing aspect ratio thing was a little bit unusual a multi-screen thing Oh, wow, the flame was pretty cool to work with it was a Um a three monitor array a 75 inch monitor in the center and then flanked by two 65 inch monitors with 13 inch space between the monitors I wanted to use some of this thing though as a seamless panorama For things and they there was some Really nice drone footage that was shot and there was a three 4k monitor So the resolution was going to be huge, but I used ai to blow up these 4k drone shots It's about 14k and uh being able to set it up in flame Where you've got basically at the center screen and then the two flanking screens But an action for each one of them and then going out to separate right nodes But the one other thing you don't think about Unless you're out there on the scene is like the the 65 inch monitors have The pixel size is different, you know, then How many pixels per inch you get is different than a 75 inch monitor You know, so you got to figure out the scale of how that if you're going to make a seamless panorama go across these things you got to make sure how The 65 inch monitors have to be blown up enough to make it match. Otherwise it doesn't work, you know, wow Um, so it flame was a great way to do it. I was able to set it up with a grid across everything And then just using like a red green and blue Actually, I can show you my screen at somebody one. I got a couple of photos that I did of this Do you want to see but it's yeah, um, anyway, it allowed allowed you to get that all set up I figured out just by We had the monitors set up physically, you know, so you know how many pixels per inch So how 13 inches was going to be x number of pixels and you know how much you had to offset Things from center to get them in place otherwise, you know, so it then allows you to once you have this setup in batch done to be able to Move anything any of your panels or anything around any way you want to crop any way that you want to and Then I'll put everything all at once with three right nodes to the you know, the left center and right screen So it was just one Big batch for the the whole thing and then you other stuff that the other content So the traditional three-screen edit and other ways too where you're using multi-screen techniques offsetting You know dissolves all the kind of stuff. So those were all per screen Don, you know, so it was all timing. You're still watching the whole thing on the final Uh, your final context, but then you're able to stop put it all in one one place at once, which is works really well That's amazing. That's so advanced too. I and david, please share your screen because I love when you show off your stuff It's so cool. Um That's amazing. That's really cool Yeah, let's see here. Yeah, share this. Um, you did it as just one giant I mean, obviously the initial setting up is difficult and after that is just one giant. Yeah, that's exactly what Uh, let's see. Let's see what I've got Yeah, okay. Well, there's two of the three monitors. It's when we're working with a grid originally on it This is when I was figuring out Hold on david. It looks like the Yeah, it's a little cut off on our screen. Oh, I see. Hold on. Yeah, I think it's it's blowing it up But I think the screen share is only on the finder window. Maybe Uh, yeah, hold on. You need to offset your viewport It is very funny It's so meta Oh, you figured it out. Yeah, that's it Okay, I just had to scale it down into this. Okay, we had three monitors set up. This is just a grid thrown on here to You know to figure out what the percentage was it worked out to be about 14 percent that needed to be Offset so what uh, let's see what I've got here. Hang on Yeah, okay, that's yeah All right, here's here's an example. Okay of a one of the panos Spread across and of course the third monitor the right But just I was able to set up just two of them To know that the math was going to work going to the right side Because it's it was the same offset So, uh, it was just really like I say a matter of figuring out the How many pixels per inch, you know, the different what the difference was And what that percentage difference was between two and that gave me the blow up for the outside screens Um, so once the 14 percent blow up was done on that But then all the horizon lines everything matched for the panos everything across the way that it should It's um, let's see if I've got Yeah, yeah, what's the red green blue thing that's yeah, that's uh, that's what I was talking about a little bit The way when I set up Okay, the left side here you're seeing the source. That's the 14k plate Um, and the left the red and the blue here are the left and right screens the green is in the middle It's just hidden at the moment. I guess when I took the shot, whatever, but um the uh So what I was able to do I was able to check that then you take this out to the monitor as you turn those Red and green blue things on and off whatever, you know and see if you're getting any bleed through from the back panel To make sure that you're dead on so you you could move, you know I could know by moving one of them a pixel either way whether I was Had alignment or not on this stuff, you know, so I don't have unfortunately, I don't have any shots of the batch in here or anything I mean, maybe some point on a logic lab or something. I can show what was done otherwise to do it, but Um, it was really a really efficient way to do it once it was all finished I was able to do it all in one batch the whole show. It's like a Oh 10 minute thing, you know, I wrote the music for into the whole, you know, that's a little story They tell it's a for ducks unlimited Wow It's the discovery park of america down in memphis, but uh, anyway, that's uh Kind of the basis of that That's so cool. That's so satisfyingly technical. I I find myself, uh, I think I'm a pretty technical Maybe I mean think you're if you are a flame artist, you're all pretty technical So I think that's satisfying to everybody Very satisfying Yeah, if you have a if you have to come up and you may be already familiar with that I did a job in I think it was september And it was an immersive space So it was in manhattan and so they had like two long walls in a short wall And we had an animation that essentially wrapped the whole womb And so it was like but we did it as a single file So it was like 9 000 pixels wide and 10 80 tall Uh, we did it in after effects But we had like a white on text effect. We had like a hundred artist names That were literally white around the room in multiple loops going And they had in the womb they had I think it was six projectors that they had Mounted to the ceiling to and they were overlapping and calibrated And they used a which I wasn't familiar with I have I was just looking for remember the name of the software What's a vj software that they used so you can take in a single large file and then map it to different projectors And so you have actually extended by cubics in the software where you can do all of the alignment properly Wow Yeah, I mean the the projector software has a module sometimes and sometimes they use I used to do some projection mapping myself They there was a software called mad mappers That gave you a lot of options for that kind of stuff Also the Projects I can't remember the name of the projection software, but yes. Yeah, I just I just found I just found it's called Resolume if you're looking at it. Yes. Yes. Yes. Oh, it's it's yes. It is like a vj software. Yep How do you spell it? R e s uh, uh Mad mappers got a lot of really good tutorials on youtube Nice Well, I'll uh, I'll share my screen just for a minute and I'll show you something a little different than than a lot of other stuff I'm working on a feature film and Uh, it's for a director friend of mine. It's his documentary Uh, and I offered So boldly to do the conform Uh, and it's the last time you do that It's very hard Might as well do a wedding video or something Yeah, so I want to I want I want to share with you my feature conform Uh, hold on.  I know I can't This is the beautiful conformer. Oh, actually, that's the rough cut. I haven't done I have to do the titles as well, but this is what it looks like to see a hour and 30 minute Feature film timeline, which is kind of cool. Not broken up into reels. That's bold Oh, you give me too much credit. Actually, I did talk to uh, our di department and they told me to break it up into reels and I said, you know I said, no, we used to break them into 20 minute film reels because that's how Breaking me know how much you're gonna film the reel would hold Yeah, I mean here's here's the problems and I'll I'll show you why I don't like that because I've graded enough stuff And I'm doing so I did the conform and I'm doing the titles and I'm doing the grading I've graded enough stuff to not really like the idea of not being able to Kind of combine all the same shots together So here I have my sources sequence because it's a little bit unwieldy to work there And so the source of sequence is just one long old sequence, but if I go into the effects tab, I think I have it set up So you can see every single shot, which is so cool um Yeah, I'm with you Jeff Yeah, thank you john. I knew you'd be on my side But so here's like every single shot every little clip of the I think it's 700 clips And what I what I like to do and I think if you break it up into reels, you might not be able to do this perfectly Uh, it takes a lot of time and it's a lot. It's a very patient exercise But I do what's called a a sort like a manual sort I could do it by timecode But I do want to kind of keep scenes together is in a certain way And so I've I create a group called a sort group And then I filter that group and then I do a custom order now I've already done this so if you carefully look and see like this lady With her daughter is like, you know, there's another b-roll there and then she appears like again Throughout the whole the whole movie. She's in the beginning. She's in the middle. She's in the end If I turn on this custom order Everybody is all together. So where is she so this these are all the shots of that lady So I don't have to go hunting for it Um, and I can see it in a glance and it's all together. It's really neat. That's that's super helpful to do Bezolf has a feature for that and I want to see I've seen it in flame It's called a versus c mode sort of the timeline Yeah, the timecode is not good in this documentary. So I can I can do either of those I chose to do to do a mode which keeps it in The order that it was in the timeline just so I can make sure that I'm Keeping things together that should be going together, but then things that I don't want together I just manually move around sure that this is definitely way more sophisticated and very cool Yeah groups are great in storyboard mode Because I did the similar thing on a two and a half hour feature film two and a half. Oh my god Yeah, I know it was crazy and Just just being able to Call up a group and say show me all the shots at this location or that location or yeah, very useful But I thought you know, I it takes that kind of stuff is not my day to day It's but it's a fun little side thing that I like doing and I and I my favorite part of the whole process is seeing that Storyboard of everything and then I think it's a lot of fun So I'll have to let you know how it goes as I finish it So you should you should save that as a very large puzzle piece and then give it to the filmmaker Oh, yeah, I'll save it as a puzzle piece. I'll give it to mark and mark For what it's worth a mode b mode and c mode that all goes back to early cmx Yep from the 70s and 80s Okay, tell me is is there a b mode because that seems to be missing from what's I believe b mode was real order once oh Wow, it's been a lot of a lot of cool. Yes c mode A mode is record time b mode is reels And c mode is source source. Yeah source reels interesting if that makes sense that it's missing Huh That's fun But and you know Jeff you can zoom that storyboard view by you know, like your pan and Pan around it.  Yeah Yeah, that all goes back to the days of where you would checkerboard assemble and you'd have to load up your one inch tapes And just to save time on the moving tapes on and off of tape. Yeah That's why all that was invented And then god forbid that the match cut to the dissolve was Was built into a different thing and by the time you put the one inch tape back up to make that match Cut nobody could set the phase or the the hue or the setup correct any sch phase will be out and they'd get You've lost half your audience guys you have to time you have to time your day first before you even start Jesus going back to ampex one inch machines the vpr threes. Yeah, and they are all handcrafted vpr threes rock The the vpr threes were amazing, especially one now with the Zeus Zeus timing thing I started out with two inch quad so there nice Name here Although one inch was invented as well and I did both, but yeah, I used to work on too People the kids always find it amazing that one of the tools I used to set up a piece of videotape was a wrench Mm-hmm But the greenies the little tweakers. Yeah, there was time to time the bay we had to And you had to hook up the air hose to the machine God forbid there was any water in those lines for the ampex ones. Yeah It's it had it had air bearings and vacuum and all gears and pulleys and And that's kept it alive all the way to the dcp That's right. DCT had air drives.  You they were fast. Yeah Oh I'm going I can thread it right one inch machine right now. I've done it so many times like I don't know 30 some odd years ago but that's I used to have this red backwards pretty fast because I did I did I did Control room stuff for a while. I think we're losing everybody here One inch doc Well, you know, it's good. Nostalgia is a good thing. It's uh, you know, I know that me and ryan don't have that Ryan is my co-worker. He's a junior flame artist. I know that he wasn't working with one inch tapes that much I know When people like us go on and on about how great it was and it did wasn't great. It sucked It sucked major. It sucked big time Great first time Tim, that's why you're here to remind us about things like that. Well, well, uh, Patrick will tell us how great it was you here to remind us how bad it was No, Tim. How many channels of adio did you have? You know? three There you go. I had four case scopes Nice. I only had two adios, but when I got case scopes, I had four Do you have a cadenza? Yeah, I never used never never used one on a job. I played with one, but I never used one on a job But we also had a sony 8000 d1 switcher Yeah, you know, and so everything that we had worked with for years and years we continued the same way with with um d1 Oh my god, gpi fire Well, but before we ride off into the sunset here Does anyone else want to talk about something they're working on that we didn't get to that used to your itching? Otherwise Because i'm not on here This is really the kind of the first time i've been on here. Welcome. I've been at disney forever like 30 years Um, i'm working on a little teaser for a new disney channel disney plus movie Wow And then i've got a meeting tomorrow that they want Our group to work on the movie as well to kind of help out the visual effects house and stuff What's just some last-minute things that need to be tweaks and beauty touch-ups and stuff like that? So that's what that's what i'm working on now. That's great. What group are you at? I'm in well actually i'm in the marketing for the disney brand of television. Okay. I was an imaginary beyond the god I was just curious. Yeah That disney started out at disney channel and then it just grew with abc and Fox and you know everything. So are you staying at the same 11th floor of the disney? Wow, I almost forgot but I have I remember you from nab last year. So hello again It's good to see you See some familiar faces. I know I think renee. I think you did some stuff for disney channel a while back Big movie show or something like that a long time ago. Yeah, that was that was a great campaign. Yeah Yeah, I did some stuff for it in the 90s Yeah I started in 92. I think it was a long time That's a lifetime ago for me. I see jake parker. I I think I remember you from the masterclass is at nab when when Autodesk was doing that Yeah, those are fun. Yeah I wish they still did those You didn't you didn't work with a guy there named phil hoppbell at all. Do you? Who jake or me you Uh phil no, I don't don't recognize the name. Yeah, I don't remember what department he is. He was with disney for like 25 years disney laid off 7 000 people last year. I'm so glad that I survived that Wow, 7 000 is a lot 7 000. Yeah a lot of people Wow, well congratulations that you survived. I survive. Yeah, we have three three three flame artists on staff in our in our department and we all survived but There's svp's and creative directors art directors and stuff that got let go and yeah Well, you are a valuable asset to the team and a valuable flame artist You know a lot of it over 30 years. I mean every time it's it's always nerve-wracking when well that all happens but I'll be there another couple of years probably and then retire I always say I'm gonna retire What an impressive list that's building on the logic forums the companies that use flame It's a good. It's a good list that's it's interesting to see some Some company names pop up that you didn't realize I guess steven you don't you at disney channel. Do you do work with yellow shoes much? No Because their name their name popped up on the list. They're a client of ours I didn't realize they had an in-house flame, but yellow shoes are the disney creative group. Is that right? Yeah, they have the creative group in florida. I added them to the list from a Colleague line when I was asking her about all those post houses in florida. She gave me a big list So I was like who uses flame that you know of in florida. She's like boom Yeah Yeah, I just I just I just pulled that list up. I looked at it when it first started I was like, oh, yeah, a nice little list and now that list is very large I've been adding who else is I'm sure you're all doing stuff, but I've just been like Hey, jeff, can I say something off topic just one one thing? I just didn't know if anybody here I'm I'm sure heard of um, alex freish before flame artist alex freish. Yeah, I worked with him at method years ago. It's super sad Just want to mention he was he was a mentor of mine at 525 back in 5 when I was on the flame And uh, he passed away this weekend Just want to get my producer um new one and I was standing next to her when she read it on the phone and she just gasped. Yeah It it just he was a fabulous talent and this is again back in 1995, you know And he would I was uh as I was mentoring for him Like I was the swing shift that I would come in and he would always tell me with this french accent Oh patrick you can do better, you know, you have to because I've that those are the times when we used to write own paints But again after the one inch before all the masking, but anyway, I just wanted to kind of shout out for alex. Yeah Yeah Anyway Very nice. Thank you Well, I'm not gonna have anyone follow that up, but uh, thank you all bring it down. Sorry to bring That's okay. I have a great way of bringing it back. We're gonna we're gonna give something away Um, I've listed all of your names into the ye old giveaway wheel and now I couldn't figure out how to share my wheel screen and share music. So You're gonna have to just imagine Sing it on Imagine some amazing music Uh, so this giveaway will be for none other than One month of Logic Academy pro Who's walking away with that? Oh my god. It's ryan rinaldi Hey Logic Academy pro one month Nice, that's actually really helpful and that congrats. Yeah. Wow. Congrats, man. Uh, and Of course, it wouldn't be logic live if we didn't give away Boris effects optics So who's getting one year of Boris effects optics? It's richard bets walking away I'm here bring your photoshop skills to the next level Okay, um I'm gonna close this out and I'll say goodbye once it's what's in stun But I'm gonna close us out with a little little slideshow presentation as we know Let me find my I think there it is Where are we? Where are we? Thanks for hosting Jeff, by the way. Oh, yeah. Yeah, I'll uh, Let me just talk about a few things and then I'll come back and say goodbye Where are we? Ah, yes. Oh my god. I'm going too fast What have I done? No upcoming shows on the docket yet, but uh, keep your eyes peeled and we will have more information as it comes out We're seeing a black screen at the moment. Yeah, that would be This is great. I don't usually have people giving me feedback live Uh, that would be because we are there are no upcoming shows and I didn't want to go to the forum Post yet. So now you get to hear my thought process. This is great. Um Uh, where where was I? Uh, if you haven't signed up for the forum head on over and do so at forum dot logic dot tv while you're there head on over to discord In the latest episode of the logic podcast glen talk with john hollis flame artist director musician Take a look at that if you're interested in his story Clocking in at 2134 subscribers on youtube. Uh, we're not on youtube right now But if you're listening to this from the future you are on youtube If you haven't already hit the subscribe button so that that number can go even higher Uh, we uh, where are we if you like to support what we're doing here on logic Please become a patron by signing up at patreon.com slash logic tv We did not give out any swag today, but be sure to check out the logic merch store to pick up your own logic merch Thank you to boris effects for sponsoring logic live if you'd like to say 15 on all of their offerings You can head on over to logic dot tv slash boris effects click on those links to take advantage of that awesome savings And a file. Thank you the aja for also sponsoring logic live. They've been together with flame since 2006 And that is it for logic live Wait, I have another I can do another share Hello, I'm back video share I did it Thank you guys for being here. This was different, right? Very different. Appreciate. Oh, wow. Look soon on foot on his hat That's great Uh, I guess I'll be editing this video to fix mark wellington's uh career. So he's not fired He's overshare But uh, thanks everyone. This was fun. I appreciate some slight black Yeah, you have the power Jeff I could you're right. I didn't get a chance to make my joke. I was gonna be saying well, I'm working on my tangent Oh That's good, but uh, thanks everybody appreciate seeing you appreciate Bye guys. Thanks very much. Thanks everybody. Bye guys. Thank you. See you next time