 Welcome, welcome, welcome. Let's get this thing underway. We have for you episode 22 of Logic Live, using Flame with Shotgun. And Logic Live is brought to you by Cinesis. Solutions, development, integration and support. You can find out all about the remote workflow solutions at Cinesis.io, supporting Flame Artists since 1997. These guys have been my personal reseller for 15 years and could not do what we do without them, especially these days. So thanks very much to Cinesis for always sponsoring Logic Live. And I'd also like to welcome back our friends at actionvfx.com. You guys may remember that they sponsored prizes for one frame of white and you've got to be kidding contest last year. These guys have the best stock footage for VFX and with what's going on right now stock footage is more useful than ever. Actually, let me stop this share and show you their site. I love this. I just used two of their clips in. Where did I put it? There we go. I just use two of their clips. I bought two of their clips rather for a project that I worked on. Everything is super high quality, 2K, 4K, some stuff is 6K. Everything's organized by categories. Let's see. I just bought, again for this project I've been working on for like the last month, a couple of snow clips. I got them in 4K. And what's wild in fact it was this one here. Falling snow close three. Just so you guys can see, you know, 2K was 10 bucks and 4K was $20, 4K, 6K rather is $20. So an incredible, incredible value. Action VFX creates top of the line assets for professional artists and filmmakers. They combine their love for filmmaking with their technical expertise to maintain the industry's highest standards. They actually have something that's super awesome. I mean, you can, in addition to getting individual clips, they also sell their collections. And you can also get the Action VFX drive, which is everything that they sell their entire library and you own it forever. And they have a pretty big announcement to make. So I'm going to play that for you here. I said I love to complicate this. I say I'm going to play that for you here. I'm going to play that for the suspense. I'm building. This is a thing. We build the suspense. Hold on. Go back. Go back. There we go. So ActionVFX.com is having a surprise sale 25 to 50% off everything from August 17th to 20th. So go to ActionVFX.com and shop now. Thanks guys so much for supporting the logic community. We really appreciate it. ActionVFX.com. So today we have, like I said, we have Using Flame with Shotgun and we have some, some fabulous guests joining us. Two of my favorite people to visit every time I'm out in LA with Alan and Terry and Jesse Maro from Instinctual in LA. And if you guys want to join and join our little party here, it'd be great to see. There they are. Jesse, hey guys. They're socially distanced right now, yet emotionally close as always. And we also have joining us Alex Arce from Autodesk who, there he is, is also our musical director in addition to, thank you, Alex, in addition to our Shotgun product specialist. So again, welcome to the show everybody. There's highs all around in the chat for you guys. And actually Alan and Jesse, why don't you tell us a little bit about Instinctual? How far, Jesse? We are a pretty small studio in LA. We're located in Hollywood. We mainly do, we do a lot of work for Sony marketing. We do most of the Columbia TriStar and Stage 6 trailers that go out theatrically. And then on top of that, we have our kind of core business that we started, that Alan and I started, where we do pretty much last minute visual effects and cosmetic work for feature films. And some started to do some series as well. So it's kind of the core of our business. Cool. I remember like the first time I met you guys or went over to your studio and this is years ago. I think it might even have been in the previous location. And you were showing me how you use Shotgun. And I had never seen it before and it just kind of blew my mind. And so I know anytime Shotgun comes up, you know, Shotgun with Flame, your guys' names always come up in the conversation. And so, you know, I love to see how you guys use Shotgun in production. Or actually I should ask, maybe before we get started. And this is really a question for the chat. Is there anybody who has never heard of Shotgun before? I mean, outside of the firearms, you know, context. Just so we know, like, you know, everybody's level. It seems like just from the names that it's at least a known phenomenon. Alright, cool. Why don't we just get started, then you guys take us through, you know, how you use Shotgun with Flame in production. Alright, so first what I'm going to show is like an out of the box as you would get with just creating a brand new Shotgun site and how Flame works. So no customizations, just really basic, simple. This is what everybody can do without really any effort at all. There you go. Alright, so do you guys see my screen? Yep. Alright, so one thing I recommend everybody who is interested in Shotgun, just sign up for a trial site and make it like a test site. So don't call it the name of what you, what your final site will be. So like, don't call it, you know, company, your company name.ShotgunStudio.com. Call it company test-o1 or company test-o3 or whatever, because it's free for I think 32 or 33 days. And basically what you want to do is you want to go in there and you want to try and break it. You want to break this site because you want to go through and find out what all the menus do, what all the buttons do, what all the functions do, and break it. And then start another one and keep doing that until you're comfortable with it. And once you're comfortable, then create your final site that you're actually going to pay for. And they're really cool. Like I've probably created 30 different sites that I let expire over time and they're really cool about that. They don't care. And it's all free. So for, you know, Alan, I'm sorry to interrupt you right out of the gate, but I think it's important just to let everybody know, especially anybody who hasn't really used Shotgun is that, you know, it's an extremely rich and diverse tool set. It's huge. I mean, it's just like anything else. I like to think about it in our business. You know, when you first dive into Maya or into Flame or into Houdini or anything, it's just that it can be overwhelming at first, all the buttons and all the columns and all the options and all the pages. But you very quickly learn what parts of Shotgun you need to use and how to filter it and customize it so you only see the information that you really need to see to help keep your project organized. Yeah, exactly. That's right. There's so much that you could do with Shotgun. It's a little bit more complex than some of the other alternatives. But that complexity has so much power to it. You can really customize it to however you want, whereas some of the other alternatives are it's one way and if that doesn't work for you then you're done. So I created a site yesterday called Logic Demo. You see it here and this is exactly how you would get it after you sign up. So I've done nothing to this site at all. It's right out of the box from the factory. And I'm just going to, first thing you need to do if you want Shotgun integration is make a project. So just go projects, new project. And I'm just going to call it test 23. And it doesn't matter really. And I'm just going to choose this VFX film template that choosing a template it's kind of outside the scope but it doesn't matter in regards to the Shotgun publishing that we're going to be doing it. It just kind of sets up some film tasks that somebody at Shotgun has thought, well, this is what every film needs. So it just kind of, it's a preset. And you just create that project. So there you are. Okay, so now that project is created. I've also downloaded and installed Shotgun Studio, sorry not Shotgun Studio, sorry, Shotgun Desktop. Previously here on my Linux machine, and I've already logged in. You can see here I've already logged into that. I'll just do it real quick. I put in your Shotgun site URL here and your username and password. Quinn says it's got that new site smell. You're absolutely right. It's perfect. Now we'll go break it. So you can see now that that brand new project is showing up here in Shotgun Desktop and if you click on it and I'm using Linux it should behave the same on the Mac. I'm not sure I've we've never done any of this on a Mac. We've only done it on Linux. It automatically goes through and finds all the applications that it supports that are already installed on your machine so I did not enter any of these manually it found them. And I will also list multiple versions so you see I have two versions of Flame here and it will list those and it by default it will always use the most recent version. And if you have any beta versions be careful because you probably don't want to be launching the beta versions and it would do that automatically so just go here and choose that. So now Flame should be getting launched. Give it a second. There you go. Now that doesn't really do much other than launch it like you might think well I'm I've already chosen the project that I'm in in Shotgun Desktop so it should figure that out but it doesn't really. It's just sorry hold on. It wouldn't be a demo. It would not be a demo if we didn't have a flame crash. Exactly. It's just not finding my centralized wire machine. Which is awesome by the way if anybody hasn't already checked it out go into YouTube. Go to Alan's YouTube channel and check out his his central stone and wire it's game life changing. Okay so I have to choose which stone and wire server I'm using but most people would just be set to local host and here now I have to create a project so I'm just going to create that project here and choose a couple options which are not terribly relevant to the shotgun demo but we need to choose for making the site of the project. Okay so I'm just launching the flame as normal you can see that now this little shotgun integration window is here in the bottom right just indicating that at least it's shotgun shotgun enabled although the project itself hasn't yet been enabled so now is to tie this flame project into the project in shotgun. So there's two ways to do that one. I already created the project on the shotgun site so I'm just going to choose it in here. I'm going to attach but the other way is you can create the shotgun project right here from within flame. I always do it the first way I always make it first on the website and then attach the flame project to that as opposed to create it through flame. And the reason why is because we have our actual shotgun site is a lot of customization and some of that customization requires that we do that procedure where we create it first on shotgun site not from within flame. In this case I'm just going to attach this test 23 and once it finishes now I'm going to launch it. And if you don't see shotgun as an option when you first start up flame you just need to enable it. You can do that with the flame setup application. That's right. At least your PBO pool is being initialized that's going to make you feel very good. So then you want to go through here and just make sure that you see these these items listed here. If when you go to shotgun and it says enabled well then that project has not yet been enabled for shotgun and then select it and it will do that but since I already logged into shotgun desktop and launch it through shotgun desktop. Now this project is shot and enabled because you can see all these options. So that's the first step and that's pretty straightforward. I have prepped a timeline that I'm going to grab. It's like the lasagna that you has previously been baking in the oven. It wouldn't be a flame demo if we didn't reference the lasagna in the oven, you know, analogy. Oh excellent. Yeah, definitely. I'm really good with that too. So I have set up three three test shots here. They have 10 firm handles and very important that you name not only the element, but then the segment so it has both a name and a shot name. So that's really important without doing that things will break and it probably won't work so you can see that I've named the element this the shot number and then underscore BG and then each one has a shot name itself. And once that's done it's pretty simple. Just go here, export. And I'm going to go to where I want it to go. And then you go sequence publish. And in this case I'm just going to use an autodesk preset. We have our own custom presets for our file system and hierarchy, but for this demonstration I really wanted to show out of the box functionality. So I'm just going to go. Shot publish job directories. And then one thing you want to do is you want to make sure here that create batch is turned on the autodesk preset has it off and that causes a lot of problems for people so you want to turn this on. And then basically you just hit export. And because we work off of the centralized stone and wire it can't do the link media so we get this little warning every time that has to create new media, and that's fine for us that functionally it doesn't matter just uses up a little bit more disk space, that's fine. And then you get this window. You don't have to do anything here other than hit publish. All of this stuff can be customized we know your your your path structure your folder structure where you put stuff it all can be customized but it's so important when you're first trying this to just use the defaults that come right out of the box. You know, yeah, you can you can get lost in the customization you know but first just just let it let it do its thing embrace it for what it is. And this this this first step you're publishing to shotgun sending your clips to the site. This takes a little while but you really only do it once and it's you know it's it's part of like the it's the first step in your project right. Yeah, it does take longer than you would imagine, but it just creates a bunch of tasks and back burner and then you just let it do its thing in the background and it doesn't really interfere with you. Like a good client. What a knowing chuckle. I will read into that. Okay, so that's done and like I said it creates it just created about 17 tasks and back burner just to publish those three shots. So some of those tasks take a little bit to to complete but what I want to show is now if I go into my project on shotgun. And I go to my sequences I now have a sequence that is the same name as the timeline. So your timeline in flame equates to a sequence in shotgun. So you have to start to understand those hierarchies. And then if I go into the sequence and then the shot list. I now have three shots here that have been entered automatically in shotgun, and the thumbnail is currently empty because those generation tasks are happening in the background on back burner, and they haven't finished yet. So, All right, so you can see that now one of them is started to get up there. This is just a still frame right now but shortly as those tasks finishing back burner there we go. You'll see that. There we go. So now, a quick time thumbnail of that shot has been automatically uploaded and registered into shotgun attached that shot and in this view this is really cool because you could start to make notes and those notes get entered into shotgun automatically. Then the next thing is well round tripping so I've now published the shots into shotgun and I'm going to comp on them and how does that round trip work well because I clicked create desktop it's now made these three batch setups for me. So if I go in here we see the shot one, and I'm just going to add a color corrector note in there just to make a very visual change. And if I hit render. When the batch group was created it created that right now the right new to note is pre populated with all the metadata needed to do this. Absolutely. Now you see at the at the end of the render it now prompts me to publish this comp to shotgun which I'm going to do. And that's done. And then if we go back here, let's say if we look at the activity for this shot one which is what I just rendered. You'll see that here is the original publish. And here is this batch publish that I just made and things haven't uploaded yet. So once that's done that will get filled in with the quick time thumbnail of that shot. And you'll also see that of a new version has been entered for that batch render. So now that comp has become attached as a version to that shot. So that's basically the round trip. Another way to do this I'll show real quickly is sometimes it's not really efficient to register every render, because you're iterating a lot as you're getting things set up and you don't want to spam your version history. So you can turn off that right node and add a render node here, and then render that. And if you like that render, you can then attach just the right node to that render. And then republish that. So that way you're not just filling up this render list of, you know, like, you know, you're in comp 72, and it's none of it has actually been necessary because it's all just set up iterations. Well, now you can just, you know, use the right note as basically a forced publish of just the kind you like, the render you like. So you can keep your version history more concise. And all that stuff that you see in shotgun there like basically what's being published to shotgun was being sent to shotgun is the render itself, but also the dot clip file, or reference to the dot clip file then also the batch setup. There are ways to integrate all that stuff within shotgun and flame you can load your setups load your batch setups via the shotgun desktop if you want to but again don't do that on day one. Those are some more of the advanced integrations and workflows. Yeah, if you go under the publishes tab you can now see all the different things that it's actually registering so the dot clip for the shot the batch for the shot the dot clip for the background clip and then the render. And so if you go on the versions you'll now see that all the different versions of of the comp that I made are now there. And you can make notes on individual versions so it's really good for shot feedback and getting it tied specifically to the actual version of the shot that somebody reviewed, as opposed to generic notes that might not apply to each, you know version version to might have different version three. So, and that's like the basics right like it's actually works out of the box. We call it in the film community we call it zero config in shotgun community they call it the basic config. I like your config better because literally it's your configuration all you do is type in a username and password and then it just works. And it's been great for us very reliable. I've got a couple of questions in the chat. Okay, from from Andy Davis says this used to be broken but does it now save the whole setup, even if not connected to the right node. I don't know. I, and Alex feel free to jump in if. Well we always hit iterate right so we're the way we save is by hitting iterate. We don't utilize the batch setup that's saved out of the right note. So as long as you're hitting iterate here that works the same, everything is saved but if you're trying to load the batch setup that's written out from the right node that I don't know because it's not a workflow we use. Yeah, and that's it's an important thing to, I guess also remember or no, and I learned this during my own personal shotgun journey is like the right file. No, there needs to have the include setup and open clip buttons turned on so that the shotgun integration can work, but it doesn't mean you have to use that stuff. It just needs to be written in order, you know for shotgun to do its thing. Really important to know. Corey is wondering, does this integrate with BFX. Never right. We've never done that, but I would say probably recommend more of a pattern browse approach for that. So that your, your shot is referencing the pattern browsed output of the right node. Yeah, BFX is really good when you're kind of managing the whole timeline and one spot and updating lots of shots but shotgun and the whole publish workflows design more for distributed work like what Alan's setting up. Even though he did the round trip on his own computer, it could have been two or three other artists contributing to that same shot. I have used batch effects where you pull in exactly what Alan did with the render node where you pull the batch effects back into your into a batch group and kind of incorporated that way. Yep. Then, but like you said that it's kind of made for shot based workflows which kind of lends itself to to individual batch groups for the shots right. Cool. Um, I think that was it. So if anybody, yeah, so if anybody has any other questions, any other questions, feel free to drop them in here or in the Q&A panel. And Alan, fire away. Yeah, so we've got. Yeah, so that's the basics. That's exactly how you can get it from shotgun with doing nothing from shotgun and auto and flame, literally not having to do anything. That's how it works. Um, then what I'm going to show is our site and some of our tools, how we've customized it. Because what's missing here is any type of automated programmatic folder structure. That's a big one. Certain customized customizations to the UI of shotgun, and then some advanced tools for things that are unique to our film workflow, which we don't have time to get into too much but Jesse's going to go over just a little bit. So what I'm going to do is I'm going to log out of this site on shotgun desktop and log into our production site. Jack Harks while you're doing this Alan Jack actually just wrote a question in the chat here. Everybody just a reminder please set your chat window to two all panelists and attendees so that everybody can see it. Jack was wondering how does it come back into the timeline if another artist works on the shot. That's kind of taken care of by the, the published workflow or the pattern browsing workflow as long as that artist is set up properly to write a new version to go ahead now. Actually Jesse could answer that because he kind of deals with all of that but I think it would have to do with the back publish dot clip or Jesse you want to talk about that. Yeah, it's a doc clip workflow. So when you publish it out the shot gets in you can see it in that list of stuff that is getting published a doc clip gets published with the original shot publish. And then what happens is that when you use the right node to version up and publish a new version of a shot. It actually is knows that that doc clip exists and it updates that doc clip. Then in the timeline the back publish is what you get back from the original publish there is going to be two tracks there. The first track will be all of your elements, and then the second track is the. It's basically the result of the doc clip that's on top and that's the element that's going to be updated as you version. So what we do is I when I'm prepping timelines I'll have you know all my raw clips on on track one then I'll have like managed track elements on track two with different layers and that's what I'll end up publishing and then on top of that I'll have my doc clip publishes and those you can duplicate and put into other cuts to so you can actually do a much better workflow without using batch effects but using the batch groups because of the doc clips files that are made when you do the initial publish. And as long as everybody follows the right pattern and the right directory structure and the right name as long as it's set up properly. Even if you're writing out sequences from Nuke or after effects it doesn't matter. They'll show up in the in the flame timelines. The really the hardest part of this getting this workflow working, especially in a customized, you know, file path and, you know, things that are outside of the built in shop publisher is figuring out the initial publish settings that you need to use and, you know, that's going to be some trial and error, but as long as you have that button turned on that's like make batch and you've set those paths in the export window. It will work. Cool. Okay, so I'm going to go over some of the customizations that we've done on our site. So the first thing is, we needed a predictable and automated folder structure so we had a custom tool written for that. And that requires us to set up our projects with some very specific fields and entities that are not normal for out of the box shotgun. So first I'll just kind of, I'll go through that how we create a project. If you look here, I'm going to create a project I'm just going to call it test 30 so right now we don't have a test 30 we just have a test publish. So I'm going to hit add project, and we give it a name test 30. And because of the site customizations we've done, we've made our own template here called ins your config template so I got to choose that. So first we have to work in a secure environment, every project has our own security group. So that's where you would enter the security group for specific project so for this I haven't made a unique security group we have a generic one called flamers, which is for stuff that doesn't really actually have to be all that secure. So for instance, I'm just going to type that in here so it's going to be attached to the flamers security group. So we might have multiple Nazar sand volumes, we want to tell shotgun, where this project is going to live. And so for now I'm going to put this project on our ball projects which is our kind of our master. And then if I wanted to I could add additional users here. So I could add Jesse to this project, and I could add Doug if I wanted to add to this project, and then hit that. I'm going to take a few seconds to make the project on shotgun and then to notify our shotgun plugin that's locally here. But now you can see that test 30 folder has been made and inside of that is our initial skeleton folder structure. We work on three different types of projects here we work on visual effects we work on movie trailers, and we do some movie dies and so each one of those is going to have their own unique folder structure, but what's been made at this step is an overall global skeleton folder structure. And then the next step is we got to tell shotgun and our plugin. Alright, what kind of project is this going to be and we're calling them campaigns. So you can think of a campaign is if the project is the master container, then the campaign is the next container under that. Again, we could have that could be an episode that could be a particular campaign for a week a month. The name and the structure is anything you want but what it defines is the type of full of project with the underlying folder structure. So for this campaign I'm just going to call it VFX. And then I have to tell it what type of campaign it is out of the three different types that we work on. So I'm going to say that's a VFX campaign. I'm going to click that. And now if I go into campaigns, you'll see it's made VFX with the skeleton folder structure for that. Right. So what we do is we just keep, you know, filtering down more and more to create the structure of the project and everything underlying there. Then the next thing is we're going to define a sequence. And remember the sequence is your timeline. So for our workflow, there's two ways to define the sequence. In the zero config way, there's only there's one way to define the sequence and that's by publishing the timeline. For us, there's two ways you could pre define the sequence, or you can let flame publish it. If we pre define the sequence here. I'm going to call it sequence 01. I'm going to attach it to a campaign because it's in our VFX campaign. I'm going to create that give it a second. There we go. Now sequence one folder structure has been made and there's a whole hierarchy of things that are there but no shots. Now let me start flame and I'll show you how that works. And when you're starting up flame shotgun is really built around that structure. And this on my, my journey, you know, you have a project and the project needs to contain in this case campaigns but sometimes it could be episodes like you said it's anything at all. And thinking backwards, you know, as flame artists we think about shots, you know, shots need a sequence in order to exist. You know, in a sequence needs a campaign and a campaign needs a project, you know, we also in shotgun there's the whole notion of tasks, you assign tasks to shots but they can't just live by themselves. So, sequence, shots, tasks, it's a structure that you have to kind of embrace. And once you do it, it really all comes into focus and is a wonderful. Yeah, even if even if you're working on only shots, you still have to contain them in a sequence, especially for flame publishing like literally they have to be in a sequence for flame to publish it. That was one of those things I, that was one of those things I just did not understand or I fought against at the beginning. I don't need a sequence I'm only doing shots, and it just made it confusing for me. So, once I let go, it all made sense. All right, so I have the same exact clip here. And this is called your sequence so that's the literal sequence name, not, not the one that I just made. I'm going to put it on first to visual effects here. All right, so now I'm going to put that in that test 30 folder, and I'm going to put it in the proper campaign and proper sequence. So you see the sequence one that I previously made on the shotgun website but there's going to be a new sequence. And I'm going to use the preset that Jesse has come up with and is using. And that's our custom and central preset, which is mostly just like folder structure names, you know paths basically does not any real magic to this other than getting the pathing that you want. And I'm going to hit export. And same thing. Basically it's just going to go through and do it same thing, but what we could look at. And so, in this case because we're pre publishing the sequence with flame, we haven't yet engaged the shotgun folder structure part of that. What you see here with this your sequence folder was actually made by flame. So that's part of that template preset that Jesse has made. And then it's made the shots itself. And this is all from flame itself right now, and some base folders, because we, I have yet to engage our folder maker or automated folder maker, because the folder maker needs to be able to attach a sequence to a campaign. And then you pre publish in flame. This is what flame created, but you'll see that the campaign is not been attached because the shotgun publisher and flame has no concept of a campaign. So for us when we when we publish sequences out of flame. The next thing we have to do is come through and attach it to a sequence. Once that, sorry, attach the sequence to a campaign. And once the sequence has been attached to a campaign, then our folder maker knows how to do the structure. Then it knows okay this thing belongs there and then it takes care of it. And so if we go back here, you'll now see that since I attached that shot and sequence to a campaign it now will fill out the rest of the folder structure with everything that we want because now it Okay, it's project campaign sequence and shot where when you publish out of flame the sequence is disconnected from the campaign. And then from that point it's pretty much the same the pretty much the same round tripping. We've customized the shotgun website UI a bit for. Sorry, for our purposes. But other than that. You know, now it's all just basic, you know, built in flame publishing that round tripping and things like that. And to answer, answer that dash yells question. Yes, we're using shotgun event them and to create the folders but with a custom shotgun event plugin. The Damon itself does not have that functionality at all. Gotcha. Cool stuff. Does anybody else have any other questions before we move on. All right. Yeah, so you want to exit out of this on desktop and I'll start up in that desktop kind of just go over quickly the what I do once those shots are. So I basically I do a lot of the management shot management and producing of the shows here so I end up spending a ton of time in shotgun. And the first thing though, I'm going to circle back just to show you guys how to use are you out of that on. Okay. Well Jesse's working on that. And yet another question Andy Davis not I'm not I haven't reached the point yet of my celebrity of referring to myself in the third person. This is shotgun loader can load can work with clips. Do you guys have any experience using it to load fbx cameras or geo into flame. We've done it in nuke, but in flame now, mostly what we use the loader for as if there's like, let's say you're you have a shot that you've already started working on the plates change. Then what you can do is you can I could publish out. Let's say I want to keep the original plates but you know, another plate comes in another element. And I want to add that to the shot, I can publish that out and then I can have the artist. The way we normally uses on roto right so you send out roto you get the roto plates back. I pull those into flame and I check them against the original plates to make sure that the right length that they're numbered right. I also then give it a shot name, and I call it like you know roto one as a segment name and then I'll publish that out. And then the flame artist can use the loader to actually just load in the, the, the element that I've just published. That's mostly how we've been using it. It's such so great that you guys do that I'm dying to implement that on our end because we still have the like our producer when we get roto back is you know emailing a path. You know, and then yeah, if everything is logged into shotgun, then you could use the loader select the shot you're working on and there are the clips or assets or whatever that that you know that you need. So what shotgun starts to do is it starts to, as you get more experience in using it, it starts to. It's a free flow of information between artists and you don't necessarily need as many producers and assistance and people to wrangle the data for you because that data is already pretty much in one centralized place, which is shotgun. Alright, so I'm up here. I got this. Let me share this with you guys. So this is this is what Alan just published. And this basically this underscore publish. This is kind of the magic like this. The layer are the doc clips. So these these containers are pointing back at the doc clip files. And so when I get this back what I'll do is I'll name this shot name, and then I'll give it a source version name and I'll turn that to dynamic. And then what happens as we start to version up the the comps. So we have this. This is the instinctual look here I think is what we're seeing pink. This happens to be Alan's favorite color too. I guess, yeah, I say you know I see it now. Okay, so this now has been I just published out a new version of the shot and then back in the timeline. And right now you can see on here as it goes through these, the update. Let's see. One of these items is to update the doc clip file. I think it's down below. And that's what that's doing. Alright, so we're good to go. And then in here, I'll start to get my versions and also now because I've named that that clip with a dynamic source version name, it'll update and I can see what version I'm working on, which is really handy when I'm doing like deliverables or like, I need to check. What did we send to the client before did we address the note properly. We just can switch it there. I never thought to use that. Oh, that's like this miss the missing link in my published workflow was like, you know, I never knew I'd have to all click on the thing to see what version. Oh my God. Sorry. And this is also why it's really important that you don't want to just publish every render, right because that list we get jammed up with a bunch of renders that are completely meaningless. So that's why we use the disconnected render node type or disconnected right node workflow, because that way the artist can choose. Okay, now I'm submitting this version for review or for whatever. But if you have that thing connected and just jamming the render all the time you're going to have to 300, you know, versions of which 95% of them are crap. One other good point about this is sometimes this gets stuck and what you have to do is update the source first. So if you go in here like I'm expecting to see something. And you don't see, you know, your versions coming up especially happens like when you first do this, because it's kind of set to original. You just have to click the layer and go to source version update sources. And that'll usually kick it in so that you can see it. And I'll outline and it'll highlight like outline and white there if there is something new, right. Yeah, exactly kind of like this one you can see here. I don't know the first one you can see it's kind of outlined. That's kind of telling me that there's been an update to on the timeline. One other issue that we ran into that I'll just hit real quick is that we always have to deliver on version zero plates. And one of the issues is like how do you we run it through the our deliverable system which is built into shotgun so when these get first get published they all come back into flame with version one. So if you do need to get a version to what you can do is delete the back published batch group, and then you can open up the batch group here. So you're basically just removing what was published on the desktop, and then once you do that, you can set it it will come in as a version zero. So that's a good. And then once you you can just publish it back out. And now you've got version zeros that are logged into shotgun for your delivery. So those are just too quick points. Now I guess I'll switch over to the actual shotgun desktop here. Give me one sec. Another question from dashel. Can your artists load the sequences or timelines with the dot clip tracks on their own flames, even if the flame didn't create the timeline. Yeah, so what we do is when I set up shots for other artists. I'll, I'll take these timelines and duplicate them and put them in a shared library. Since we're all working on the same project. There will be these shared libraries that say like, you know, example clips or whatever they want. Oh, and I also put them in when I do the shot. Set up. I'll put the dot clip back into the actual shot itself. And I want to Jesse, can you go to the right node because I want to show Richard he asked the question about iterations. Yeah. So see how Jesse set the iterations to follow iteration. That should be the only option. The fact that it's set to custom version by default, and that it's even there is insanity. The only thing you ever want is that your right file output matches the iteration version of the batch setup. So when we iterate, then you can start to see it updating here. So now the batch name matches the render name. And these are being saved on disk. So what'll happen is that you'll start to see. I'm looking at the long shot but as we iterate you'll start to see the iterations that if you need to you can get to you later on. But these, my point on these is that you can take the doc clips and you can put them into back into your batches and then the artists can see what they're actually publishing on to see here. They can start to see what they're publishing on to disk and if you want to update it here, you can do that here so you can see okay this is what I updated and this is what we're going to have in the review so. And I'll usually put a like nice little note here that says like top on it so that the artist knows what they can, you know, can see it. And it's updated. That's great. Yeah, and shameless self promotion I wrote a little Python script to change the iteration setting on the right file nodes of any selected batch groups so that way you don't accidentally skip one. It's not Alan's dream but it's one step closer to that dream. All right, so this is, um, thank you for that plug. Again shameless. Um, so this is these are the shots that got published out to shotgun. I'm going to show you a quick trick that you can use if you, as you start to build this up you're going to be adding in a lot of custom fields, like these are all our custom fields here. And we have a kind of custom field name that we give it so we know that it's custom. Yeah. When we when we create a new field or entity in our shotgun, we always prepend it with our company. Abbreviation which is in s because as you play with shotgun and you're going to, you know, use those test sites to create things to break things. One really easy way to know okay I made this is by pre pending a company initial to it. Any field that has SG INS means that's a custom field we made. So if we ever make a new pipeline or need to set up a new site, we know we got to recreate that field. And, you know, it doesn't get lost in what we think is the default shotgun fields. So this is handy little handy trick to let's say you created a project and or you created out of flame and you don't really have the option to choose a template. You can come in here after the flight after the project spend created, and you can push a template into the created project, which is also handy if you start this in in production. You can put your customization into the project you're currently working on, and then you can push it into your template or you can push it into other projects. So what I'm going to do is use the changes that I made on Rust City VFX and I'm going to push it into this new project that Alan made so that'll have all of the changes that I made on the other project. And it's another possible workflow for you if you do want to set up a template project to use and you also want to use flame to actually create the project, not the way that we do it where you pre create it. Okay, so once, um, once the shots are created and published, I've created what's called a task template and I'll add in our cut our just tasks. This is pretty straightforward and you can find out about tasks templates on shotguns website. I'm not going to bore you with the details, but basically what it's doing is it's adding in these tasks on these are like tasks. And these are the events on those tasks. So the task template kind of adds those in. So when I start to work on a show, I'll, I'll, and you can do this all at one time to you don't have to do it, like individually like I'm doing you can do it on like 100 shots at one time. Then the way that we work is once the shots in shotgun and ready to go. I'll set all these to ready to start. And as we start to have the artists come on board. I'll add them to the comp task. And then what we do is we have this thing called your shots. And what this is is this is like the heart of our shot tracking for freelance artists. So, if you freelance with us you'll come in and you'll be you'll see the your shots page, and you'll know immediately that you have three shots to work on for that day. And you can tell by and it progresses up here from left to right so you start on waiting to start. So once you start a shot, you change its status to in progress. You refresh your page. And now that shots move from waiting to start to now it's in progress. And for me while I'm tracking shots during the day, I can see those those status updates on on my shots page. So I'll know, you know, eight artists are working on such and such shots and I can track the progression that they're going in. You're ready for the shot to be once you publish a version of your shot, and you're ready for it to be reviewed. We change that status to internal review. And then if you go back here, the hammer of judgment was that what that was. Yeah, that's right. So by the end of the day on the normal production day I'll have you know, if normally, since we're so fast at flame love like 50 versions in one day. I'm kidding. But we'll have the versions to review. And then what I do is I use double statuses. These are kind of shots statuses and these are the way that I track what I've what we're working on what we've sent to the client and kind of where that shot is in a more global sense in regards to how we're interacting with the client. And this is more kind of how we're in working internally where that shot is internally. And then what happens is once I set once I've in reviewed this, if it's ready to go, I'll market it to ready to send and I can do that with a batch of shots. And then we have a deliverable system that we tie into that I can easily and quickly trigger deliverables on. I'm not going to do that for this demo because it's, it's pretty complicated. But maybe at a later date we can go into the, you know, the more the complication of that whole workflow. And that's kind of like that's just like really basic generalized workflow that we use here. Do you want me to keep going and show some more stuff, Andy. I think just quickly like some of the stuff I've been working on with bidding and stuff or do you think. Yeah, I'd love to see that I just want to point out that when you guys showed the your shots version two page there it's a super powerful tool in shotgun is to be able to create a page that only shows the information that you want to see. And in this case you know for the artist that happens to be working that artist doesn't need to see anything else anything else is a distraction. You know, or it's confusing and I know for us at lively we built, I built page views, specifically for artists and specifically for producers. Producer wants to come in and see what things are in progress and the artist wants to know what am I working on today. And, and this way it just, once you get into that business of customizing pages like this it really really kind of unleashes shotguns power. Yeah, one thing about shotgun is like out of the box it has awesome functionality for publishing to flame, but the website default UI is horrific. It's basically a spreadsheet that you got to constantly drill down and filter and really have to find the information you want. And so what we tried to do is make it just like you said somebody comes in sits down and all they need is presented right to them in one pane of glass. And so our this your shots page that we came up with helps to do that. It used to be actually even better but they've recently deprecated the functionality the widget that we were using for that. So this is like the next best thing and it's still pretty good. It still gets you there. But yeah this this fuse really important because we could stack somebody up with 1015 shots and it's really easy for them to know exactly what to do. You can see while Jesse was talking I entered some notes and like each one of those notes could be like a specific sub task that they have to do on that shot that then once they do it they can start to check it off and it makes your like the information much easier to digest so you're not wasting your time or your brainpower trying to figure out what you need to do because it's all right there. It's just figuring out how to do it now. Yeah Jesse why don't you we only we're almost that's a good plan to show us a couple more. All right. Let me show you this. So So we built in I've I built in a I created a bid system within shotgun. And this is really powerful because it gets you away from having to have separate bid and separate shot tracking. So what you can it's pretty simple. These are calculated fields. You add the you add fields customized fields. You can build this up. And then once these once I start to put in values. This shot we're saying OK if we sent this to India we're going to pay $2 a frame. That's going to be our actual cost. You know I'm going to I'm going to charge that a little bit you know the like $8 a frame or five whatever. And so I can really quickly start to build up a bid. Right within shotgun. Let's say we want to charge a dollar to prep the frame a dollar to deliver the frame and we're really cheap and we're $50 an hour. And then we put a multiplier like it's an easy shot. Now you can start to see costs and the great thing about this is it's ultimately tied to the status of the shot. So if the producer calls you and says I want to omit shot one and you haven't delivered anything. You can just omit it here and within about 30 seconds you can tell him what the shot count was and you can I have to do this. You can get really real time feedback of where you're at on costs and on total costs or total shot count. So and then one thing that's cool about shotgun is you can use this. You can design pages so it defaults to kind of a shots page and you can define all of these different fields, but you can also duplicate that view and then you can start to make up your own page views. So that's what I did with the bid and each one of these fields is also permissioned so only I can see those the bid fields and you can do that with any field and shotgun. The next thing I'll show you real quick because and I'm just speeding through this is when I'm bidding all I'll usually get a Excel document and it'll have like, you know, from it'll have the what we need to do and you can set up these Excel documents to this Excel document is designed to import notes. So I've made up some notes that I want to put on the shots and what this can do is like you can really quickly populate shotgun with notes for your entire job for every single shot and you can copy and paste those out of the documents that you can get that you normally get from your client. So I just basically put three new scopes of work on to our existing shots. It's a super powerful tool. Alex showed me this that you know you could you could even you can import CSVs from Excel or even like you could take your shotgun shots page for example and export that maybe if there's only one shot filled and then load that into Excel and populate it with the data that you're getting from your client. And now it's you know in a CSV format it's it's already formatted for shotgun you can then re-import that right back in the shotgun and boom everything's Yeah, that's how you can that's a great point Andy because that's how you can figure out how to start to make these CSV templates that you need is by you just basically export the pages that you want with the fields you want exposed and at the top. You'll get the you just have to keep these descriptors and then you fill in the data down here and you can you know you can populate the description, all that stuff in a matter of minutes. And so that's that yeah. Does anybody have any questions or do you want me to go into any more depth or are we out of time. I think we're pretty much out of time. I'm going to see if anybody has any other questions. But I would definitely you know love to have you guys back to go over some of the more advanced stuff the deliverable system you have and you know I know you showed it to me and it's like the you know it all came from the Holy Grail of I don't want to fuck anything up. You know, enter the information once into one place and it is consistent throughout the production. I have personally been involved in you know putting the wrong frame counts on slates and version numbers on slates and wrong file name extensions and you know it's crazy so well that's the great thing about shotgun is it's a base it's a computerized system. So you get automatically when you publish you get shot durations, you can get cut information, you can get, you know, a wealth of data that you have to then put into to slates and stuff. And by calling on this database, you can, I mean, like we showed you yesterday it's like it's crazy the things that you can start to do and not fuck it up. You know, I mean that's the thing that's like my biggest thing is I want to be able to QC the data in one place at one time and know that it's right so I don't drive myself crazy at 1030 at night when we're trying to deliver to know if the data is actually correct. Right, I do it in a clear state of mind and little bit bite sized chunks that then allows me to, you know, when the when the heat is on and I'm in the heat of a delivery. I don't have to QC anything. All I have to know is that the deliverables were rendered and that there's an image there. I don't have to look at the shot name I don't have to look at all of this like numbers and crazy stuff. And that's the same thing also with like managing artists. I set it and forget it like at the beginning of the day. I just come in here and I signed a sign who's going to be working on what shots and then I can go do other things. And if there's a question I can just query this page or another page. It's awesome stuff. Well, thank you very much guys and if anybody does have questions feel free to reach out to Alan and Jesse on logic and Alex as well. You know, it's a fantastic tool shotgun and you know the more you get a chance to the more of you to get a chance to kind of play around and see how it can improve your pipeline in your workflow, the better and to Alan's point, you know, just go to shotgun software dot com create a site, give it a shot, break it, you know, and, and then try again. Thank you very much guys really appreciate it. Thanks guys. Hardest webinar I ever participated in guys. Alex, could you play a little piano other way? Yes, could you play us out Alex please. Powered up first. Hey, just to add to that if you can reach me alex.rc at autodesk.com if anybody has any follow up questions. I mean, these guys are amazing. They're pushing it and doing really great work. So Sandy so appreciate it makes shotgun look great. Thanks. Thanks guys. Thanks guys. All right. Coming up on logic live, nothing because we did this today. The next big thing for logic live I'm taking next week off and then on Sunday, August 30th at 3pm is the logic live summer party. If you haven't already registered please do. I'm going to put the logic dot TV slash 2020 summer party in the chat just so everybody has it. Boom. There you go. We're going to be giving away a license of a silhouette paint from Boris effects to one lucky attendee. It's going to be just a social event, no demos, no run throughs. Everybody be able to turn the camera on and you know we can put names to faces and just kind of hang out. So please, please, please join. There's also a really big announcement. I'm going to announce all the logic live stuff that's lined up for September and some of October and you know a really big announcement that I've been working on for most of the summer. So definitely please if you haven't already RSVP'd please do at logic dot TV slash summer 2020 summer party. And once again, the logic podcast I have a new episode coming out on on August 25th. It's going to be an interview I did with Alan and Jesse, which they're probably regretting doing right now. But it's going to be fantastic. And I'm really looking forward to that. If you haven't already subscribed to the logic podcast on Stitcher or Apple podcast, please do or any of your. Yes. Yes. Thank you, Randy. Please leave all five star reviews on any podcasting app of your choice. And of course, this will be up on logic dot TV later. You can find all the previous episodes of logic live there as well as some great content. If you haven't already subscribed to our YouTube channel, please do. And thanks again to our friends at actionvfx.com and be sure to check out their surprise sale from August 17th to the 20th 25 to 50% off everything. These guys make great stuff. And thanks as always to synthesis for supporting logic live in the logic community. That's going to do it guys. I'll see you on the 30th. Thanks so much.