 Hey, I almost missed it. Thank you, Randy. Oh my God, I've been worried about that all day. Hello, everybody, welcome to another exciting episode of Logic Live. My name is Andy. I'm very happy to be back here with you. And today we are going to talk stock VFX with our friends at Action VFX. But before that, let me go ahead and take you through a couple of slides. What's up? This episode of Logic Live, like all episodes of Logic Live, are sponsored by Cinesis.io, Solutions Development Integration and Support, supporting Flame Artist since 1997. These guys are my personal reseller. I talk about them all the time. I could not do what I do. We could not do what we do at Lively without their support. And if you need anything in the way of remote workflow, please give those guys a shout at Cinesis.io. Thank you again, Cinesis, for your continued support. And we want to welcome back our friends from AJA. AJA is back as a sponsor. And if you've been doing Flame for any amount of time, you know that they make the best video hardware in the business. So I want to thank the whole team over at AJA for supporting One Frame of White, for supporting Logic, for supporting the Logic Parties, and now for supporting Logic Live. AJA and Flame together since 2006. Coming on to Patreon, I want to thank everybody who supported us on Patreon. I hope you've enjoyed the Patreon's only sessions that we do after Logic Live. And Randy and I have some other exclusive content coming up that we think is going to be very exciting. We have three different categories of sponsorship. We're going to be adding a couple more shortly. And they each get you different levels of merch and access and things like that. And I want to make sure that this is referenced. There is a discount for action VFX, provided by Action VFX rather for our Patreon patrons. So I want to thank those guys for the sponsorship. Thank you to all of our patrons. The list keeps growing and it makes us so happy to see the support. Thank you very much. And if you'd like to support what we're doing here at Logic, you can head over to patreon.com slash Logic TV. Also want to thank our friends at Gunpowder. These guys were on a little over a month ago and just kind of just blew everybody away with the remote or with the cloud computing and the cloud resources that they put together. You saw what they were doing with Flame in the Cloud and we've been chatting with them at Lively for other kind of cloud resources. So if you need anything in the way of cloud computing and also on premises computing, feel free to reach out to gunpowder.info at gunpowder.tech. And let's not forget about Boris FX. I think Brian is still recovering emotionally from Render Dome 2, which was a great success. I want to thank them for also their continued support. These guys make the best plugins in the business. You all know it. We all use them if you need anything in the way of Boris FX plugins, whether it's Continuum, Optics, Mocha, Sapphire, or anything that they make, or the entire Boris FX, or Silhouette Paint, or the entire Boris FX suite, you can say 15% on anything that they make that standalone or subscription when you use the code logic-15 at checkout. Thank you very much Boris FX and Logic Academy. We've gotten such a tremendous response from Jeff's session at Logic Academy, our first session at Logic Academy on Connected Conform. Thank you very much, Jeff, and thank you everybody for the great feedback. If you'd like to check it out, go to logicacademy.com. It's a three-part session and it's really, really great. All the footage you need is downloadable and Jeff has been really responsive on the forum with anybody who has questions. So thank you very much, Jeff. And I think, I think, no, we have one more, that's right. Coming up on Wednesday, April 28th is Catch Up with Flame, which is followed by the Flame Award. So Flame 2022 is coming out. So there's going to be a whole, I think it's a 90-minute session on the new features in Flame. So Holly Mack is going to be there to go through it with the team and Autodesk, the dev team. And then following that presentation, we're going to do this year's Flame Award. I'm going to be the emcee for that, looking forward to that. And so I want to thank Robert and everybody at Autodesk for setting this up. And if you check out that link that I put, I put the registration link for this in the chat. I'll just paste it in here again. So I'll have it fresh. Be sure to sign up. That's April 28th at 12 p.m. Eastern Time for the Flame Award. Okay. Coming back to me. All right. So, you know, everybody, when you're compositing a shot, a success or failure usually comes down to the quality of the elements that you're given to work with. And how many times have you asked production to shoot elements of like fire or water or smoke? And what they deliver doesn't quite meet your expectations. Maybe the exposure is off a bit or the flames that they shot for you go off the edge of frame. And you know, the options for VFX stock footage haven't always been that ideal. Until now, the team at actionvfx.com have completely raised the bar for VFX stock footage and the sequence to their success are simple. An obsession for quality and understanding of what compositors need. So I'd like to welcome my guest today, Luke Thompson, Chief Operating Officer and Zachary Van Hoy, lead product designer from actionvfx.com. Hey, what's up, guys? Hey, going well. How about you? Doing great. Doing great. Man, I can't believe I got through that. You nailed it. You nailed it. I got like 37 windows open. I feel good. I feel good. This must be what it's like for my parents when they successfully like send an email or something. All right. Well, welcome. I'm a huge fan of you guys. I want to, you know, thank you for sponsoring like prizes for our one frame of white contest over the last couple of years. And of course, for the support for our Patreon patrons. So why don't you take us through actionvfx, who you guys are, what you're doing. For sure. First off, Andy, you know, thank you so much for allowing us to be on the show. I know we've been trying to sync up our calendars for a little bit. So I'm glad that it's finally happening. It's for real this time. Amen. We're excited to be here for sure. So yeah, as far as actionvfx, just to kind of fill you guys in on who we are. Like in 2015, we had recognized a great need or lack of high quality stock footage. And as Andy's already, you know, briefly touched on is it got to the point where we were seeing the same muzzle flashes, the same explosions, the same just the same assets being reused over and over. And it didn't matter if it was, you know, some teenage kids on the YouTube channel or, you know, feature films and episodic TV shows. It got to the point where really, we just couldn't take it anymore. We're seeing the same thing. We see this is ridiculous. And most people, you know, outside of post production, most general viewers don't even think twice about that type of thing because it's just explosion. Cool. That's shiny. If something's off, they, you know, don't really understand or may not understand behind behind the scenes, but that really created a need for us. And it wasn't just us because we took to Kickstarter and ran a 30 day campaign. Our goal was to raise $20,000 in that 30 days, but we ended up raising $59,000 from 446 backers VFX artists that also thought there was a lack of high quality stock footage. So it was really cool to kind of be able to build that community piece early on and see, OK, people are going to put their money where their mouth's at to help us create our vision for action VFX, which is to be the place for professional VFX stock footage. And so the path is kind of, you know, ebb and float over the years. But at the end of the day, we are a high quality stock footage library that's built with the professionals in mind. We also have everything all at heart. And so it's not like you have to buy, you know, all 3,500 elements in one go. We really prioritized quality, especially upfront, you know, it's like quality over quantity, but that's not the sacrifice of variety. And so really, you know, trying to build our library out. We have a fairly small team right now. We're about 14 full time employees. So we've been slowly growing over the years. But man, I am so excited to be here for one, but also just the way the next this next year is going to play out. We have some really huge plans, huge goals and excited to talk a little bit about those today as well. That's great. That's great. Yeah, I just wanted to bring up the website. Definitely check it out. I mean, the offerings that you guys have are really, really diverse. And and and you also have a huge supply of free stuff for people to download and try. I was really, really impressed. And if it's not too early, I just wanted to give a shout out to the 15 second challenge that you guys threw. What was it last month? Yeah, yeah, yeah. So last month we'd ran. It's really like the first, you know, really big VFX contest that we had ran as far as like the community is concerned. We received hundreds of submissions and last this past week, we've just announced like the three winners for that. But man, so exciting to see everyone from all sorts of different backgrounds, different skill levels competing in this and being able to just use the included assets. We included a handful of things similar to the frame of white, which I would say is a lot more challenging and more difficult because it's one frame of white, whereas they had a handful of different assets to kind of pull from and be inspired from. But it's so cool to see all of that kind of coming together for one common creative purpose and just seeing everybody being really positive in the community, you know, like asking for feedback, being genuine about wanting criticism for growing and developing as an artist. So yeah, that was just one really cool thing that we're definitely going to be rolling out more of those. That's great. But that was the first one. That's great. I just want to show everybody the I think was the first place one. I have it queued up here on YouTube. It's just it's insane. And I know that anybody who's ever done a visual effect or done a composite is going to is just going to is going to love it. And finally, coming in first place, our grand prize winner is Anders. This wartime battle scene was extremely well made, immersive and very detailed. Each time we watched this shot, we found something new. Another VFX detail that did its job and blended in to help the shot tell a story and be as immersive as possible. Also, the way you used action VFX is crazy. Yeah, yeah, for sure. There's so much going on there. And then if you know the assets that were required to be used in the contest, that really kind of takes that shot to another level as well, just being able to repurpose, reorient to come up with that final shot. Definitely cool. Great winner. Awesome. Yeah, definitely. I would encourage everybody to go to action VFX.com. Go to their YouTube channel, check them out. They put a great show reel together of some of the submissions that they got. So wonderful. Do you guys want to dive in and take us through maybe a sample shot with some of your assets? Yeah, sure. Pass it over to Zach here. Yeah, that'd be great. I actually have something ready for you guys. You know, while Zach's while Zach's setting up, I just want to call out here that Quinn in the chat has pointed out two great offerings from Action VFX. One is that they've added six K elements recently to some of their offerings. And then in addition to, oh, actually, I do want to ask you guys about the creator vault. I was thinking about the drive. You know, they do you want to tell us what the creator vault is? I haven't I haven't gotten there yet. Yeah. Yeah. So this past October, we've launched a new website called Creator Vault. It's just creator vault.com. It's kind of a sister company to Action VFX. It's very different for the product offering as far as it's not explosions, action, that kind of stuff, but it is still VFX stock footage. And so it's a little slanted towards, you know, motion graphics. That type of thing. And so you'll see some different like matte transitions, paper transitions, stop animation, lens flares, light leaks, that kind of thing. Cool. So we definitely have some great plans for that in the future. You can check that out. And it it was different enough of the product offering to where we felt like it needed to be separate. You know, we could have mats and light leaks and some of that other stuff on Action VFX, but at the end of the day, if that's professional VFX stock footage for VFX artists, we felt like there was a good enough divide there to where we could kind of split those platforms up. But yeah, definitely check that out. Cool. All right. All right. Finally got us up and running here. Sweet. So yeah, this shot was what we demoed for our wall fires that we released a while back. So this, I mean, this was a lot of fun to work on and build this shot out. I'll show you the background plate we started with here. So I personally, I mean, this is one of my personal shots that I've enjoyed the most and I've really enjoyed the outcome. And one of the huge things was just already having this little bit of fire back here. That helped me with the compositing so much because I could take our elements and just really dial in the look to make sure they match that. And it just looked even better. So, you know, here's the here's the final shot. And I'll I'll be keeping it just on this frame for this demo. But God. So yeah, like our fire, you know, we've we've got fire in here for the wall fires. We've got smoke in here foreground smoke fog. We've got some fire, some smoke coming from the the wall fires themselves. We've got some embers. Some there's just so much in here that comes from our website and all of this. I mean, this is all from our website. Everything that you're seeing is available and we've got some free burn mark. So even the stuff in here, so there's some free stuff in here and some lense dirt and everything. All of that is you can find on our website. So let me just break this down a little bit. You can see here, of course, started out with our our plate here. Like I said, having that fire there already just ready to go for the compositing was great because let me pull up one of like our wall fires. So here's an example of one of this is one of the clips that I use in here. But when we shoot our elements, I mean, quality is huge for us. This the quality that we have is meant to be for the top of the line. I mean, the biggest studios that you see and know of working on these feature films and episodic TV shows and everything like that. This is meant for them, the quality is, but it's meant to also be available to absolutely everybody so that you're you're using that same quality assets that they're using in the studios. And we can pull down the exposure. I mean, the exposure on this is great. Everything's properly exposed, especially with our fire and our explosions. Yes, you're going to get a little bit of over exposure. And in a couple areas, you can see up here in my scopes, you've got a little bit just because of the dynamic range that it would take to properly film all of that. But it's it's in a way that you can use this for a daytime shot or an indoor shot or nighttime, whatever you're needing. You're going to be able to use these assets for all these different scenarios and everything. So with this shot, we were able to pull in these. Of course, started with a 3D track and pull in all this fire. So let's just start with turning. You can see I've got a lot of processing on this to dial these in. But so here's here's our original that we pulled in. And of course, using a screen blending mode here, did some roto as you could see with the fireman. Obviously, that's that's not right there. But then a simple transform to sort of dial it in to hit that angle of the wall. And the rest of it, you've got some camera lens blurs, some color adjustments, some glow and everything. You can see I used these different glows here. So this sort of multi glow process is great for working with fire, especially when indoors or nighttime shots. This is great. You sort of have like a heavy glow that's taking all those really high exposure areas and not a it doesn't have a very wide glow on it. Here we got let's say radius of eight. I mean, it's not a very wide glow, but it's really just hitting those highlights and making those peak even more. Then we sort of do in between where, again, just a little bit wider and also taking in more of the element. You're you're having that threshold lower so that it is making more glow. And then the last one is just sort of a broad glow and pulling in that that element that you're going to get from your camera lens. If you were actually filming this, where you sort of get that halo around things, brightening up all those areas. And then it's just some some curves to bring in some different is just lowering that blue and the darker. And again, this this was so helpful having these small fires already in here because I just use those as reference and matched everything to that. And then just adding a little bit of saturation, a little bit of adjustment. So you can see it's not making a huge difference. But again, just matching to those real elements in there. So these have that stuff there. Yes, I get asked that question all the time by like younger artists or young composers, you know, what do I use as a guide? Well, use what's there? Yes, what's the darkest thing in the scene? What's the lightest thing in the scene? Well, it's the thing in the scene. And to have those practical things there is great. The the elements that you're showing here, like the fire, what what was that shot on? What resolution was it? And what kind of files do you get to download? So these are shot on our we have a red Gemini that we shoot most of our elements on now, we do have past elements that have been shot on a range of cameras. But we are consistently using the Reds to do that. We have some that were shot on like the helium. So we have elements up to six K resolution. These are four K. So these wall fires. And you're going to give you, depending on what you want and what you need for your project, you can buy a two K version or a four K version. And the two K version is going to come as a pro res four, four, four with alpha for certain things. Some things don't require the alpha channel, but certain things like the explosions that we've removed those backgrounds. You get that detailed alpha channel already just in the file ready to go. And if you buy the four K version on like these these fires here, you're going to get the raw red clip. It comes with it too, which is great for, you know, if you're doing anything, mastering an HDR or if you're wanting to specifically key your your own things, the noise at your own way. And if you really want control over everything from start to finish and post, those raw clips are going to be exactly what you need. And when they were shot at five K or six K, you're getting that five K, six K clip. So if you need that extra boost in resolution, those red raw clips are going to be great. That's great. The chat is going wild, by the way. I'm glad I'm glad to see you guys. Yeah, I was going to say, I wanted to point out one thing. Randy had said, you know, underexposed fire in the chat. He said underexposed fire is the biggest giveaway, isn't it? And I just wanted to echo that. I mean, that, you know, matching your shot, whether it's interior, exterior, nighttime, daytime, having the dynamic range inside of, you know, on some of those sensors we're shooting, it has 14 stops of dynamic range. And so there's a really, really wide layer of flexibility in there. You know, being able to work with that raw file as opposed to, you know, if somebody had shot it on a, you know, lower end, yeah, phone, light, a lighter Canon EOS series, something, you know, there's, there's definitely a lot of flexibility with that. Yes, for sure. And with, you know, those red files, you're getting all that detail, all the metadata that's coming with it too. So that's been something that people have needed for an HDR workflow, is they know exactly how it was shot so they can expose it correctly to real world values, having that information. But yeah, so I mean, we've got our wall fires that we dropped in here. I'm going to turn on. I got some light cast coming off of those. And here is between these guys off real quick. So these burn marks that I've placed on the wall and there's some on the door and everything, these are a free product on our website. And they are so useful with explosions, fire, everything. It just gives it that extra bit of detail right behind the fire that really helps sell that effect. So go check out those. Those are free and shop and some sparks. So another element that's just going to help adding that detail, these. Different sparks and embers that we have that are in this shot. I'll show you the final shot. We've got that file, but you've got some embers and sparks floating around, which really help with all that extra detail, just these elements that you can buy in in unique ways for each shot. And the variety is so helpful in making that feel real. And we got some smoke in here. So this smoke, let's look at this real quick. So, you know, I just use a simple tent effect here, but it really helps to sort of look like it's glowing, getting illuminated from the fire. That's a big thing. You know, outdoor shots even that can help indoor. That's going to be even more obvious. But outdoor shots having like some smoke here and then just adding it like a simple roto to have some some smoke that's close by the fire that's getting illuminated has that tent to it, that orange glow. But then duplicating that exact same smoke, taking that off of it and having it behind that glowing layer, then looks like that light fall off from the from the fire and just illuminating that smoke as it rises, a great trick that I've I've learned there. Some more smoke. I'm going to turn on some roto here. So I've got our fireman and some edge glow on him, really getting that backlight from from that. Some dust and ash that's just floating around. Again, not a huge thing that you may not even been able to see it depending on the the quality that the stream is going at currently. I mean, but just these particles floating around in the air. Some. Yeah, realistic levels of embers, not, you know, Snyder cut levels of yes. Yes, everything's on fire to derail the whole conversation into like a DC universe too late. War of words. Damn it. And I promised myself I wasn't going to do it this time. Sorry, Randy. Oh, great. Randy, just put in the chat here, the link to the the free burn marks. Oh, great, great, great. Thanks. So here's some more of those burn marks here on the door. Whoa, I just took three of those rotated around different, you know, track, put them in 3D space and that's just going to again help so much because when you add this fire on top, then it's like, OK, that's that's been burning for a while. There's some different environmental impacts of this fire and it doesn't look like it's just floating there unrealistically. You would have that, you know, if you're if something's on fire, it's going to be charred. Simple as that. Some more dust, some more smoke. And then at the very end, I went in, added some overall glow just to sort of boost everything up, make it a little bit look a little bit hotter and brighter, some different heat distortions that again, definitely hear that anything with with fire. I'm always adding the heat distortion. Again, it's sort of like the the embers and everything. It's a subtle thing. You don't need to overdo it. But it helps so much. And then I just added a overall motion blur pass on this shot. Just to help blend that fire in and everything. And then color grade and LensDirt and this LensDirt, I want to look at this real quick because this is another thing that's it's just another subtle detail that adding that can help so much. So it really sort of brings the camera into the space. You can see it's not doing too much, but I've added a flicker on it so that it's just well, there we go. I've just added a wiggle expression on this. So it's just flickering a little bit, which just looks like the fire is illuminating some that's some nasty stuff on the lens. Very simple, but effective. That's great. Yeah, so that's that's the breakdown of this shot. Again, a really fun shot to work on. And I know we've got that file. Oh, yeah, that's something we can we can show. Sorry, I got so I got so enamored with that. That's OK. Well, let me just stop your sharing for a second and I'll pin this. Oh, I didn't even see the blue. Yes, draft effect. Yeah, that is an awesome clip for this wall fire collection. We have some that are actually starting from nothing. And so you can get whatever effect you're needing. That's another cool thing with the variation of our clips when needed. We try to really get the the beginning clip so you can get something starting out or extinguishing. And then also, of course, the very popular just in the middle, everything burning, but those those variations are something that we try to always include because, you know, that's that's great to have. That's great. Thank you, Quinn, for for Quinn, who is our friends. Yes, experts. Actually, it's kind of kind of suspicious that you know this. I mean, unless you've been watching a lot of a lot of CSI during renders or something like that, but really amazing work. Thank you. How many elements overall? Like how many of your stock elements are in this shot? I know it's like 50 something layers, but how many bits and pieces? Yeah, you know, I don't have an exact count. I'm going to say looking over this. I say we're looking at about 30 different elements here. That's great. Nice. And I'm going to drop a quick link to just that product page. So if somebody wanted to see, I know this stream on mine was a little bouncy. So if anybody wants to see that, you know, in like full res and stuff, you can just check it out on that page right there. Oh, great. See all those tiny little ash details just floating around. Yeah, awesome. Thank you. Thank you. I wanted to ask you guys about crowds, right? I know we were when we were talking during the our little run through that we had, you kind of teased something new that that you guys are doing for this year. Yeah, so we are extremely excited about this. Just kind of back up so everybody's on the same page. Due to, you know, I don't know if you guys have heard there's been a pandemic going on for the past little bit and about that. Yeah, I mean, it happens. But in our line of work, in our field, obviously a lot has changed. You know, people are still editing. Post production is still happening. But, you know, you guys know all of that. That's not news to anybody. But the needs that have kind of arisen out of that. We're still seeing a huge demand from our clients, all of our users that are having trouble on set filling stadiums. You know, as common practice for, you know, VFX artists and studios, you know, they'll shoot groups of people at a time that way you can have, you know, 25 people on set and fill the stadium have every possible angle that you need, all of that kind of stuff, because you can just piece it together. But those limitations have been, I mean, drastically reduced and it doesn't look like those are going to really open up or get any better any time soon. And so we've really kept our ear, you know, to our users trying to find out, hey, what are the best solutions we could do for this? Obviously, there are some solutions as far as, you know, 3D scans, simulations, that type of stuff. And those are great solutions. But us in the name of quality and the name of if we can do something real, we're going to do it real because at the very end of the day, fake stuff always has something about it that, yes, has flexibility. It has, you know, you can interact with different surfaces, all of that. But at the end of the day, like something just looks off and we're getting better and technology is definitely advancing in that. So for this reason, we've been wanting to shoot crowd VFX assets for real. And so we've been doing that. We've been in post production for, I guess, one to two months now. So we're kind of on the tail end of this. We're hoping to have these released around the end of this month. And what this is going to look like is we have two full collections that are going to be out day one. And so one is going to be concert themed and the other is going to be sports themed. And so what this looks like will be, you know, we have, I think, upwards of 12 actors cheering, doing different, you know, emotions depending on, yeah, there we go, depending on the setup. And we film them from various angles and perspectives, as you can see. So we have a high angle looking down, a front angle and a low angle looking up. And then we've had each of those actors move and rotate. And some of them are even, you know, interacting with sitting to standing. So if they needed to be, you know, populated on like inside of stadium seats or anything like that, they can do that. And also we have built these clips out to where they can all be synchronized at the same time. And so, you know, we have different audio cues. So whenever, hey, maybe you're you've got an actor or a musician on stage who's just like shredding some sick guitar solo and your crowd is supposed to go from nice, not bad, not bad to what? What? Oh my gosh. You can sync all of those up because they're built to be that way. And so, yeah, you can hear, Luke. Yeah, yeah, I'm just super excited about like the the fact that these are one solid clip. So like Luke was saying about the standing and the sitting versions of each person. So yeah, there is a there's 15 camera angles for each person. There is 15 camera angles for the sitting and the 15 camera angles for the standing versions. And the reason there's difference because those standing versions when you need to see full body from head to toe, you've got that. But the sitting versions where you've got people standing up and sitting down or anything like that, where I see an awesome comment about off setting to do the wave because, yes, totally. So, you know, these these things, we're trying to just cover everything and with these long clips and everything like Luke was talking about being timed out exactly the same every clip. You've got the not only the natural slight maybe somebody waits just slightly longer, anything like that, but you have the option to manually make that happen. So, you know, you can offset if you want everybody jumping up cheering for the sports team when they when they score, then you have that. But then you just slightly offset, you know, randomize that offset for your entire crowd and you have that organic transition from them sitting to jumping up and cheering. And you even have the option to take these in, plug in those times and make it an entire database. So you could create a database to populate an entire stadium and say you want 50 percent of the people to jump up and cheer. You want 20 percent of them just sort of standing there, like they're not really doing anything. And then you want. You want another percentage to be just sitting there because they are not that excited, not into the game. You have you could do that and do that all with a database and generating an entire stadium of people just like that. You know, it's great. It's like a scripting dream come true and it's all like offset in time. It's like you're you're dealing with different simulations and things like that. You know, George in the in the chat here just asked about color clothing. And when I first saw this clip, I was like, oh, OK, interesting choice for the color of the shirt. You know, right. You could easily get a mat for that or sample that and swing it. Exactly. Yeah. Huge, huge shift. Yep. So yeah, when George said that, I was like, oh, yes. You talk about more features. Talk about more features. Yeah, you know, we wanted to build these out in a way. You know, this is a sporting example. And so if, you know, maybe your team has a very specific red color or it's for a commercial and you're wanting people on the couch cheering whatever, you can select that blue and then just make it exactly what you want. And that can also have more variety in the crowd. You know, so you're not finding common. Oh, everyone has that one blue shirt. Or there's always like this one guy that looks a little wacky, but you can pick him out in the duplication process. And so that can kind of help avoid some of that stuff. That we every everybody or anybody who's ever done like populating a stadium with, you know, or crowd or whatever with with assets on cards knows exactly what you're talking about. You know, the stumbling blocks where it's like, oh, my God, you know, the production said that they were going to be able to, you know, they were going to have 100 extras and they had 20 and that they were going to rotate everybody, you know, move the people from the back row to the front row, but they really didn't have enough time. And, you know, you end up going, you know, killing your or pulling your hair out, trying to figure out, you know, what you remember to shoot. Yeah, there's that, too. Like Randy says, we call him the wall, though. Yeah, the one guy that you see over and over again. How many times that was me because, you know, they didn't they didn't have enough extras. So I was in, but we make sure to to avoid that, you know, we were we planned these what people were wearing out to avoid that. So we don't have any crazy pattern shirts or anything like that in these collections. That's great. Just to geek out for a second. So you said you shot these with 15 different camera angles. So does that mean you built it like a rig with 15 different cameras and recorded them all in sync and and then exponentially increased your processing and storage capabilities when you realized what you've done? Yeah, we did some we did some math ahead of time. And it's like, yeah, I think we can do this. And that's all that's all good things start, right? It's like, we're going to run some quick numbers. Yeah, it should be. Yeah, and then we got into posts and it's like. OK, six hundred and sixty clips to key. Yeah, that's it. Luke, let's implement some stuff. Right. Yeah, that's six hundred and sixty that were selected. And so, you know, thankfully, this one was a bit different in nature from if we shoot fire or explosions or something like that. Andy, I know we were talking earlier this past week and. A safe just averaged out bet would be 50 percent of what we shoot actually makes it on the website. Just because even for our own quality standards, you can't always control how a fire is going to bend or kind of go like that. And so it's really sad and sometimes it makes me cry when there's a really nice explosion, you know, they're not cheap to fire off and just do whatever with. But when one tiny thing happens and it doesn't meet our bar of expectation and we can't use that clip. And we can't use that clip. So thankfully, we didn't really run into that as much. But as Zach said, each one of these packs is going to have three hundred and thirty clips each. So we had to build out a lot of new tools, new things that haven't really existed for our pipelines to be able to to post process all these in time because it's been a big project. Three hundred and thirty clips at what resolution? 4K. Oh, my DCI 4K. So and let's think about, you know, this is all 15 angles per person. So, you know, typically you're not going to need all of that. A studio may because a studio may want to prep for the future in buying that. But, you know, if you may only need eleven clips to create the crowd because you're just doing front angle or whatever. So, you know, don't think of you have to purchase all three hundred and thirty because how we have our website set up where you can buy everything individually, that's still going to be the case for the crowds as well. Cool. Yeah. Yeah. So this product is definitely geared towards, you know, studios like that want to just add to their existing stock library of, you know, crowd assets because that's something we're going to keep rolling out. But also, as Zach said, you know, if you need just three clips of one specific angle for your shot and then you can work and duplicate. You can buy those individually. Current pricing for like some of the other individual clips are even on the highest stuff, you know, less than thirty dollars for a single thing that comes with, you know, depends what it is, you know, some things come with red files, if it makes sense for it to have red files and all of that. But to be able to not force, hey, you have to spend a couple hundred dollars and then also you're going to get five hundred clips that you don't really want. But hey, you can look through them if you want to waste some time. You know, that's that's kind of the thing that we keep trying to have in mind is the artist and the end user and improving that experience as best we can. And that's why we build out every product. We post, you know, we do everything that we possibly can, reduce noise, everything in post so that that end thing is ready to lock and load. But if somebody wants to dig in on some of those other things, that's what they're all files before. That's great. That's great. Do you guys have and you said you're you're hoping to release this end of the month? Yeah. Yeah. So. Right now, we are looking at I'm always just like it's just like a software thing. You know, it's like always scared and hesitant to say, hey, this date. But we are really. I love these sound effects and you're cracking me up. Thank you. Oh, I was a misfire. This is live show folks. Anyway, the 27th is when we're hoping to have those out. Obviously, you guys know how production is, you know, anything could happen that derails things that we don't see. But we're definitely trying our hardest to have those out on the 27th. And at the same time, we're going to, you know, we've had to build out some new software, things like that, our new setup. We have a green screen setup that's pretty specific for crowds right now. And so we're also going to be announcing that we will be accepting custom crowd requests on that launch day. And so we're really trying to just feel out this side of the business. Again, we're a very small team, so we're going to be very hypersensitive of those requests coming in. But if we can at least see that there, you know, there's a demand there and we can hire new people to kind of pick up production on that side, then that's something that we definitely want to offer as well. So a couple of new things rolling down the pipeline for that. That's great. Nice, nice, nice. Wonderful. What about becoming a contributor? Let's say I had either I had an aptitude to go and a camera and I wanted to go and shoot some stuff and and and give it to you guys to like as a marketplace to sell, is that something that you're doing? Yeah, so this past week we've rolled out our new kind of become a contributor initiative and what this is is it's really just a way for us, you know, that now that we have been growing, have been expanding. It's a way for us to acquire new assets for our library that people have already produced, you know. So if there are a bunch of stuff that is sitting on your hard drive, maybe it doesn't make sense for you to sell it on, you know, one of the huge stock websites where it's just going to be funneled in to buried underneath all sorts of things. But you have a very specific with VFX in mind for that. Then you can fill out a form on our website, just kind of give us some info about what you do have and we can be in touch with you for that. Another thing would be like CG simulations. You know, if you've built anything out that could also be used and would be a useful tool for someone else, whether that's fluid Sims, fire Sims, anything like that. If it's a good addition to our library, then we definitely want to talk with you. And another thing we always want to like reiterate is our quality standards are still going to be, you know, as rigorous as they have been. And so if you've got something good, you know that it's great. Definitely get in touch with us, because we'd love to speak with you about that. Oh, excellent. Does anybody have any questions for Zach or Luke? All right. Well, while they're thinking, while the audience in home is thinking and ruminating, why don't we go ahead and give away our prize for today? Well, let me I'm very excited about this. I have new game show music. Randy, I didn't warn you about this ahead of time. That's right. It's prize time on Logic Live, everybody. And we want to thank Luke and Zach and the team at ActionBFX for offering up a $200 store credit for everything available at ActionBFX.com. Jeff, how's the level? Yeah, this may or may not have something to do with the fact that we're we reached we finally broke the 1000 subscriber threshold. And, you know, the clips that I was using apparently were owned by somebody else. YouTube, let me know 70. I got about 70 emails, you know. Yeah, that was that kind of defined a weekend. Really wonderful. All right, let me go ahead here and bring up our high tech, totally awesome, random name picker, which I guess today is sponsored by who? Oh, VRBO. Yeah, if anybody is going anywhere and I don't know anybody who is, make sure you rent somebody else's house for that special getaway. OK, here we go. This is for all the marbles, ladies and gentlemen. I ran out of music. There we go. All right, here we go. I got everybody's name in. You have to be here to win. Let's go ahead. This, by the way, this is quality animation here. Let's see. Heldar, Heldar, are you here? Oh, he's going to be he's going to be devastated. All right, we're going to try again. One more time. Here we go. I feel good about this one. Mark. Mark Youngren. Probably out with Heldar. OK, here we go. Only 30 seconds of the music. I'm ready. I got to try to believe. I know I saw your name here. Yes, congratulations, man. All right. Hey, nice. Yes. Congratulations. That's a two hundred dollar store credit to actiontheeffects.com. We'll be in touch or I'll email you to leave and get the music out. Lovely. All right. Well, I want to thank you guys. It was really, really great having you on the show today. And I want to bring myself back. There we go. Hey, I want to thank you guys. It was it was really, really great having you on the show today. Sure, man. Thank you for having us. Yes, again, I'm big fans of your of your products. And thank you for always supporting the stuff that we're doing here at Logic. Really, really appreciate it. Yeah, for sure. For sure. You. Yeah, I know we've talked over the past couple of years. The one frame of white has been huge. And I just have a lot of respect for that from the creative point of view. So definitely keep doing what you're doing. And we're always here if we can help. Thanks, man. I appreciate it. All right, let's talk about what's coming up on Logic Live. Spotlight this again next week. We have an episode I'm looking forward to. It just says Andy Brown there, but we're doing an episode called Things I Hate About Flame with Andy Brown. And he's got a list of things that he can't stand. But he when he pitched this idea to me, he pitched it as a way to learn. You know, he's hoping that he's going to rattle off his like his enemy's list of things with flame and that we'll be able to help him out and and all learn in the process. So definitely tune in next week. We're going to try to do this just live on YouTube as opposed to through Zoom. So stand by for details on that. Following that on April 25th, we're going to do Keying with our friend Richard Betts. I want to thank Richard. There was a great thread on the forum about Keying and Richard kind of like blew everybody away. So we're looking forward to his presentation on all different varieties of Keying active and otherwise. And then on May 2nd, we're going to do a virtual user group and we're going to feature old stories of flame. There's been a thread going on on the forum for the last couple of weeks. And I'm just going to play this. That's like, you know, it's like the old timers game at at like a baseball game, you know, where what exactly back in my day, we didn't have a mouse. We yelled at the computer. It's been it's just been a combination of like a trip down memory lane and also just like a fabulous like telling of the story of like, you know, of flame and this this this this kind of community that has been going on for almost 30 years. So definitely tune in for that in the second. I put a posting up on the forum about it and got some great responses. So we're going to we're going to have a lot of fun. I think there's Kirk Baldin has been rolling out some great old photos. I'm going to try to get some some surprise guests on and we're going to have a good show. So definitely join us on May 2nd. Speaking of the forum, the forum is kind of exploding in leaps and bounds. And thank God for Randy McInty for getting that going and keeping it running. Look at that. We have new records. We're hitting 5,000 page views a day. Almost 1,000 viewers, 100,000 page views per month, which has vaulted us into the next the next tier of of it's just more expensive to run the forum. But it's a good problem. We're very happy to be there and we wouldn't be there without all of you. Yeah, that's right. Randy upgrades. It's like once a day. Once a day, I get like a notification that there's been a software update to the forum. Would you like so? Thank you. Yeah, we're almost at the magic 10 bit users of 1,024. So thank you everybody for contributing to the forum and helping to make it the great community that it is. This episode of logic live, like all past ones, will be accessible on logic.tv. There's also some it's a great place for other logic related content. I have a new episode of the podcast coming out on Tuesday. I had a great sit down with Miriam. She's in the chat here. Miriam's a young visual effects artist based out of London. And it was just a fantastic chat about what it's like to get started in the industry. So look for that on Tuesday in your podcasting app of choice. As Randy said, we, well, and I said we crossed the threshold of 1,000 subscribers on our YouTube page. It's wonderful. My eight year old nephew, he said he could be worthwhile and maybe having a life of significance and meaning. And so I want to thank everybody who subscribed to the YouTube channel and it's really just a wonderful thing. So thank you all. And of course, again, if you'd like to support what we're doing here at Logic, please head over to patreon.com. Thank you to our patrons. We're gonna go right after this to a patrons Q&A with Luke and Zach and just kind of geek out and dive deep. And again, as Randy said, all of our patrons get a 20% discount code for everything on ActionVFX. So thank you guys for the support there. And as a reminder, Wednesday, April 28th, the Flame Award and catch up with Flame is gonna be a whole presentation on the new 2022 release. There's some really amazing stuff in the release. And so I encourage you to register. I'll see if I was lucky enough to keep the link in. Yes, here we go. I put the link in the chat again. So definitely register for that and I'll see you on the 28th. I'll be hosting the Flame Award, which means that basically anything could happen. And one more time for our friends at Boris FX. Use the logic.tv or the logic-15 discount code at checkout to save 15% on everything at Boris FX. Definitely give a shout out to the guys at Gunpowder if you need anything in the way of cloud resources or engineering support. Can't say enough about AJA. And our friend, Steve Losi over there who's been a long time supporter and friend of the community. So thank you AJA and welcome back to Logic Live. And of course, thank you to everybody at Synasys for their support. That's gonna do it for Logic Live this week. Thank you, Luke. Thank you, Zach. Thank you everybody at home and we'll see you over at the page in the chat and we'll see the rest of y'all next time. Thanks, everybody.