 My name is Andy and welcome back to another exciting episode of logic live here. This is episode 15 And we have Joel osis with us today. I know everybody has been waiting for this I know I've been waiting for this and it's going to be a fantastic episode. So let's get underway As always logic live is brought to you by our friends at cynicism Oceana solutions integration and support for digital content creators Cynosys has been my reseller for 15 years. We could not do what we do without them They've always been supporters of the flame community. They support user groups all over there all over north america And they've always sponsored things like one frame of white and logic fest So I want to thank them very much for their continued support Check out all their offerings at cynicism.io cynicism Oceana supporting flame artists since 1997 Also want to thank our friends over at boris effects. I don't know how many of you saw but boris effects has a 50% off silhouette paint For logic users their offer expires june 30th. I'm going to paste the link in the chat right now As well as links for upcoming episodes. So feel free to Register for those but do try to take advantage of this offer from boris effects. It's great I think ross from boris mentioned that if you were to use this for the mocha pro and silhouette bundle You're essentially getting one of them for free. So definitely take advantage of that and thanks to the guys over boris effects All right. So without further ado, I'm going to invite the man the myth the legend Joel osis to join us And let me stop my screen share here All right, hey How's it going, man? Yeah, how you doing? It's like um, it's like a screenplay. It's like, you know fade up Joel osis enters room. I got my home setup dog. So I'm good. Yeah, that sounds great, man. You can look fantastic Uh, it's nice and bright and sunny there. It's pretty nice out. Yeah, it's good. It's good. Excellent All right. Well, hey, let's just How's the quarantine thing going for you? Oh for me. It's going great. I have to say I've uh, It's been going well as well as can be expected, you know, uh I've just been trying to fill my time as much as I can with like with this stuff and it's just great to have everybody in the community kind of Pitch in and and offer to to you know, keep this kind of sense going It's uh, we haven't had a user group in a while and you know, I I'm uh, I'm glad, you know, actually I My favorite user group moment of all the new york user groups we ever did was one that that you were at We had I think I think it was will was there I think somebody from otter dust was there and they were showing off all like the incredible new features of whatever the new release is And everybody was going, you know nodding and going. Yes. Thank you This is very and then you know joel osa steps up, you know And sits behind the flame and shows how you can you can like connect two nodes in batch across like the split screen And the room went crazy. I remember I remember that I wasn't maybe supposed to be speaking, but I was like, can I show you this? It was funny, I felt It was great. Sorry. It was awesome. Oh, totally and dude, you've always like, uh, Uh, kind of like for me, I always come up with like the most amazing Uh, I'm a hacks is a word that doesn't do it justice, but just like, uh, like, uh Kind of like a unique Rethink or a perspective on the tools that are available I was just going through your site at joelosis.com before this and you know Just even the first one that was up there the the the data mashing to help, you know, motion vectors work and everything Is there is there like a secret behind your your your outlook about your your way of looking at things I wish I was a some more just like I know there's ways to do things and I'll do stuff Like I'll redo jobs when I get home sometimes just to see if I could do it different and you know just That's what I love about our job is we're always solving problems and like I like solving And finding new solutions to things that might not work without having to and I know sometimes it's best to step out of flame For a lot of things, but sometimes I like to just See what I can tinker with and get going and I just love, uh I love the exploring part and then I get really excited when I figure it out and then I'd be excited to share it, you know what I mean Totally. Oh, that's great, man. Well, why don't we jump right in? What do you got for us today, man? Okay, so For the Torontonians that are here. There might be let down because I'm showing some stuff I showed at the last user group that wasn't Broadcast but getting archives here and permissions on a job. I was gonna do hasn't released yet because of corona, but um Yeah, so this is still gonna be cool. I hope so this will be a little fade. So this is the Roger's spot. Um, and it's gonna be a mcdonald's uh, let me adjust my mic a mcdonald's uh guy as well, and I might just try something Really quickly give me one second So I'm not completely barring you Just start before Joel gets started I just want to remind everyone if you do have a question, please put the questions in the q&a panel And I'll make sure that Joel, uh, Joel gets them. All right, man. Fire away All right. So yeah, this spot was uh done obviously pre-covid because of all these people next to each other And finally enough there wasn't enough Like every time we shoot you can never get enough extras. So we were hoping for 150 to 200 And the most they could get was uh on this shot here was 70 I think And they really wanted it to feel big and you know For less money and less crowd as they always do So the really tricky thing with this was when we did get on set. Um, and a lot of these are like extra crowd elements Like these guys foregrounds are just stolen from other things same with these guys at the start are kind of stolen some of these guys This guy's was the only one that actually had the normal crowd But the thing that came up on set is we actually had to kill a couple shots because um if you're shooting union people If you duplicate them you actually uh You have to pay them for every time they're duplicated, which is stupidity and no one Thought to ask that question before we got into this. So that was fun. Um, and then the real big Yeah, seriously So the real big hero for this was where was this shot here, which was supposed to form their uh their logo here Which is their new at the time infinite data plan. So it was all about uh getting a drone shot and uh being able to Make it match intercut and feel like it was part of the same scene. So this was actually There was a bit there was probably a couple weeks of uh r and d with our 3d guy tom who Was actually brave because when he signed on where I work at alter ego. He took that job on and Where I remember I asked him. It's like he'd done crowds before. He's like nope. I was like, okay sweet I love you're fat too Um, but yeah, so I'm just gonna jump into the crowd field So this one actually had a annoying problem With restores, I don't know if any of you guys have had them too, but with when you use multi clipped on the import Not through here on the media hub, but um Hang on. Actually, let me just actually mirror my screen properly one second Yeah, I think I just saw actually uh someone post that Yeah, so when you restore when you restore it, uh, it only you only get the top channel and you get nothing else It's really dumb. So if you're soft linking Uh, only the one channel comes back. So yeah, that's That's a good, uh, gotcha But yeah, so again to begin with we this was our, uh So this was essentially tracked at like Like the day of the shooting. So because the turnaround for this whole job was I think we had a four or five days from when we shot But there was two weeks prior where we're doing the uh crowd sims and stuff like that. So This is just our kind of base track after we got it shot and this was at like six ish in the morning on like downtown And you know, we shut the street down for a little bit and it worked out pretty well But yeah, we got the shot chosen on set and then sent to the tracker Um, and in the ironic part with this is this is like one of the only shots the flame tracker probably could track. So there's that And if we go further through, um, this is just like our clean plate I'm just gonna play that through I'll scrub through actually it's a little bit nicer. But yeah, so again, it's just like a nice shot to add a crowd in and You know do tracking and that projections and get it all going So there was a usual like, you know Removal of everything. So if we just kind of jump through all these little stages Once it wakes up Okay, so this is just like the first thing where we swapped Bits for where it made sense for the crowd to be kind of in um And again, this is like there's more many different patches that were done for this just uh The you know, the normal projection way just grab your frame. You're gonna paint on freeze and then put back into the main comp Um, so yeah, so when we did get into the main comp. So this is my actual projector set up Hey, Joel. Yeah I'm sorry to interrupt you. Um, but the the image that we're getting from the flame is is a little little soft Okay, or it might be I want to make sure everybody can see all the detail. Let me see if it's my zoom settings video settings I have uh I have hd enabled so it should be good Let me just double check Could you do me a favor then um after you check could you just start a recording on your end? Sure, and then you can send it to me after and then well, I'll compare the two before I uh I put it up. It could just be you know, it's a busy internet day Yeah, I've always found zoom will kind of choose what it's better with talking heads. That's from my experience All right, I'm gonna yeah, I'll start recording on my end too All right. Um, cool. Um, let me just make sure that it is But you're right of all the shots that uh flames tracker 3d tracker could probably get It's literally this one All right, so that's that that's it is that talking heads love that band All right, so yeah, and this might be not as good too because it is like flat as well So if we go out again, so the projector setup was was here. So this is just like a space of four This was the uh, the little proxy world geo just for the cleanup and the paint, right? and then again The comp stuff that we did have So the front pass came through for this. So this was our uh rcg crowd And then we just kind of combined that there's it's not working because of the uh, The restore of course, um, let me do this Do that and do that that should where did that geo come from that you were projecting onto? uh, that geo was just part of what I requested for your um, when we did the uh uh The tracker guy we just asked for a geo. Um, so it was just proxy geo put in but again that stuff could have been put in Pretty easily in flame today Joel can I interrupt you one more time? Sorry, uh in in zoom when you did your screen share Um, did you have that little check box check that says optimize for uh, for video? uh Well, maybe that's it because i'm not screen sharing right i'm just using my my camera. Let me do a screen share then Hang on. Okay. Uh, and if so don't don't check that box that that drops quality for uh Fluidity Sorry to throw you off, but I I appreciate it's all good. All right, so Okay, I'm gonna just go to zoom and now go. Well, we can we can now admire tom's uh, tom's brilliant work here on this And I'd go present i'll share screen one second host disabled purchasing screen sharing. He set me up Uh The real question is do I trust you? Um, there you go. Now you should be good to go. Okay screen share And I'll share this guy Um, so yeah, don't don't check the optimize for screen sharing correct only an engineer would write that button Okay, there we go. Um, is that like at at full res like at the full screen you can see Um, no, I'm seeing the OBS. Okay. Let me um, let me view full screen There that's full screen, right Yes, sir. All right. Let me just clear these panels out. Thank you. Joel. Well, sorry about that. Oh, that's okay Um, yeah, so we just had our normal passes that you'd expect from cj. So this was just our beauty Um, we had some other ones that I didn't end up using and then just pre-mult Color correct as you expect Again, I don't know if these are gonna Oh, they are displaying but they're weird because the uh I had to re-pipe the thing because yeah, that didn't even come through. Let me just try cheating it with this This alpha channel because that might be a part of what it was doing Okay, nope, great Uh, but yeah, anyway, nothing really crazy going on with comp stuff. Um and then again, so these are In this one, this was our holdout. So this was using the proxy geo Um, just with the fbx There we go. Space up four. Is it gonna show? It's probably too wide. Oh, yeah the scales are weird. So you can see bits of it on the edge Um And then again, I did some extra little holdout mats for trees So these are just kind of painted from my projection and then frozen and output and these are all combined just for From a matte perspective to then put back onto To this stuff to knock back where the crowd was interacting because that's always the thing with these is you have to figure out where that's going and stuff like that Um, and then yeah, so the main the main over is here and again, it's just there's our crowd kind of comped in And this is all pre-color by the way Which proved to be annoying a little bit of air glow from Louis Saunders great plugin I'm not uh, I'm not knocking you Ivar your glow is cool too. I'll just use this one a little bit more All right, and then this was kind of where what where it ended up pre Pre-color and pre back in type of thing So if we didn't go to the timeline And this one was trickier too because we had to kind of go to from one wider shot to make it feel like a helicopter kind of zoom out shot And then to the logo but all lined up type of thing. So I'll just um make this full screen And I'll just play this last part just so you can see the end result And so that's where we ended up and then there's like transition transition transition But yeah, so this one was trickier because if I go into the first part for this crowd guy And again these were Using the once we got colored. So we ended up at the last minute I think they changed the It changed the lighting, but it didn't kind of work and I don't know It was kind of one of those ninja swaps that you don't tell them about so this was kind of what was working Just what changed to kind of help it because originally as well the the light was coming from behind And his uh, his cg matched where it wasn't like a hard hard shadow, you know Because the light was south, you know coming forward. So it was a bit Again like it was, you know, you get those colors. They want to put lens flare and then you got to rematch it, right? So there's there's that guy And then this was again, just some extra little Things just to help it out once we saw it in context And then the key for this one was this was our This is our full gate for the amount of people we had and the take that was chosen. It was one of those big Techno cranes, I think And then that gets comped into an action Just using really like these were just like trials and errors of like the zoom out and how much I could get away with to Kind of match it in but I always will use the um for this specifically for the crowd thing The auto expand which is at the bottom of the ui. You can't see but in perspective because it's just easier to Ripple stuff out that way, but if I scrub through you can see kind of The rate of like these the shot was stabilized so then I could zoom out at the right time Just to kind of it wasn't meant to feel like one shot, but just they wanted to have that like quick pullback But not too quick in the cheapy kind of you know Zoom and like flashes and you know Raise finding that right balance between like zoom and and and motion blur and Yeah, without being cheese, right? And then also finding that balance of building it in a way that's interactive, right? Which we all have to do which is the hardest the hardest part Uh, so this is the other bit where we went to the uh Roger's logo So then that guy was then stabilized to line up with the infinite logo And then we just had a little added a little glow of like the trails preceding the uh The outline which matched up just going over the people And then we transition in and then it does its logo formation which worked pretty well, um, and I'll just go Undo just so I can not have to render that. Oops Quickly render it so we can check it out one more time You said you had about four days to turn all this around? for For the the crowd shot it was a couple I think two or three and then the rest of the stuff. I think I was only scheduled for you know, um Yeah, it's you know when they schedule the jobs on the like on the monday, so they know you're gonna work the weekend I think it was like that Yeah, all too well, that's the laugh of someone Yeah, that's the that's the pain sadness there. It's the pain Um, I'll just render this But yeah, and there was other stuff again This one was fun because it wasn't just the cleanup It was more being able to comp and integrate because there was still a bunch of uh, you know Comp and clean up and the usual, you know Um Just kind of scrub through Yeah, I won't bother you through that render. It's chugging along um, but then again the other thing with this was there was little things like, uh This particular Shot here if we go in see if my computer explodes should be okay. Okay. All right So this was the uh the source And it happened to be in a sketchy or part of Downtown and their complaint was it looks kind of sketchy and ghetto. So it's like no shit This is where we ended up for this Um, so there's once this updates this can take a second But there was lots of cleanup lots of like roto Let me go to where the Let's see. Let's start here. Maybe so this is the 3d track which wasn't done in here. I think I use pf Let me just turn down the Axi scale There we go And you can see like this is the extent of kind of what's going in and again, it's nothing nothing special It's just the usual. Um, like I always do. I'm sure you guys know. I'm like a projector whore So literally just projections So far ninja comp and projector whore the two hashtags that I'm going to put on this episode And then again a running list And then this was uh again just some fillback stuff for certain things And if I go back to so this is all my fillback roto if we go through so it was And these were not farmed out too. So it was a good painful exercise. So yeah, that was the extent of kind of the the put-back And then I think this was just like, yeah, just to kind of hide some sins there And then the wires If I go to here And look at the output. So I always love doing this for wires It's like what I always will do with wires is I'll always do like a really tiny g mask But all the way open Like leave it open and then just split it out Soften it just grab the color of what I'm trying to put it on. So if I go to uh Again, it was just for these little bits Right here, you know But it just was so much more easy and less painful than you know And you're trying to kind of get back in there and then you paint it and pixel spread it and Yeah, you know, I just feel like that's the quickest Yeah, so that was again that that was probably the only other shot in there that was more complex um These are just little things where we had to kind of Change and some of them change the take of people walking behind Which really helped the spot because now Now everyone's on as a story. I couldn't follow it unless now everyone's on infinite Um, and then this one was like a last minute. Um Oh, it's yeah, let's use a different take and pull back wider because he doesn't go out wide Um, and that was fun not fun because it was in a session. Well, I asked that so that was good Um, and that was when I was sharing with that's covered in a pattern, you know, yeah, it's uh, it was fun Fun's the word kind of that one. I had to make the skateboard slightly bigger Just so you know, she's a skater girl Literally yep But yeah, it was again, it was all about just kind of feeling out that was actually one that didn't have any work All right, um, and then these ones again These ones had like four grand people just to kind of their whole thing was they really wanted to feel the crowd and you know Make it feel big which again, I don't think they'd run this spot now because of everything But yeah, so that's the that's where the Rogers one is and the other one I'm going to show is um It's for a mcdonald's spot. I did which was fun Before before you switch over does anybody have any questions? Oh, yeah Uh, people are taking uh, people are taking um, uh requests for projector whore t-shirts, by the way Perfect. All right, I've been waiting for this. Cool All right, so the next one is a spot um for mcdonald's that was I just shared it last time because it was fun and this one didn't restore properly too, but You know, let's see it and watch it without the restore thing. So You get the true flame experience Yes, is that a checkerboard? Yeah. Yeah So this one was called a uh, they shot in Colombia um it was only like A little bit of like cleanup and alignments for you know check boards check boards Didn't even play the last bit. Okay, great. Um, and then let me see So the end shot on that which is this guy. Let me load up my batch So the end result was this That shouldn't be uh, not that one. That was the previous here's my batch renders. Okay So this was uh, the end result of the final shot once we're there And we go through the cup and we transition to the drone footage in colombian and it's like, you know We really wanted to feel like we You know encapsulate it in the thing. It's like, wow, that's not literal enough so this was This was fun because uh, it was a chance to again not just do the the cleanup The usual stuff, right? Um, not again, there was lots of little things that were um cleaned up and you know, the usual but this one was actually A rarity too because I kind of kept it neat too Which is actually good because usually I'm a bit messier but this yeah This guy was also the the work that I had to do for the test. Um, just because the team Always forgets that you've been doing your job for the last, you know 15 years and they just think that you're some dude They just hired and they've always forget that and they need to see a test Of where you're at. So the first test I did over the weekend. Um, was actually really great like, uh it was using a different cup and uh and a still and uh They approved that to go ahead with and it was great because uh, we're on the same page Um, they approved the test and then and then they changed it 15 times over the next two weeks No, literally this one was like, uh, you know, that's great. Let's let's do it. It was like amazing Nice. So yeah, so this uh, so this one's cool too because I use um techniques I use um, which you guys probably already know about so this is just using, you know, the default uh The fault brush, right just doing that or whatever So that's just freezing one frame And then I'm just kind of transforming it to make it smaller and I was again playing with these as I was building I've got a little blur to kiss it in And then my old friend recursive ops. So all I've done with recursive. You can't see my my lower part of my screen Um, but it's I've just enabled crumpled distortion to like 65. I've enabled blur the Like pumped it up and then it's just max light and again and I enabled the 2d transform scale And if I press play You see you get this really cool I don't know if that I'll have to scrub through and that doesn't let you scrub with this Yeah, this happens sometimes when you mirror your uh, your ui, but I'll go to wear it the pre-render and and again after I did it all I added was little um Once this updates scrub through you see this is kind of the The cool it's not screwing the scrubber's work. So it gets this cool kind of organic reveal like blob thing and then from there I just kind of blurted the shit out of it again And then kind of just you know Time worked histogram just to kiss everything into black and white and then negated just for what I'm using it downstream with And we'll just do it And that's that reveal mat that is chugging and that's why I pre-rendered. So here's the Final look at that mat. It should it should work for this because it's actually full screen and not just in batch, but if I press play You see you get this cool Quick bleed through and then yeah, it actually works I don't know. I just thought it was a cool texture and I hate them I hate uh I always try to not use stock if I can I mean, I know there's sometimes you have to but that was just you know It's half an hour of experimenting and and you know, it worked So this this next part of this, um, so there was Intricacies that had to be replicated. So the source drone footage was this, um, you know And we ended up having to put in let's see some extra clouds some extra Uh Mountains just again just I'm just grabbing and scaling up and using the the same motion So it's easy just to put back in and again. I've taken the uh the zoom out because I wanted to be able to control that when I pass through But this is really an example of a shot where you do especially with the transitions and And all that like I always find they just need so much Jigging to work properly because you're working with mixed res and you know stuff like that can be fun So the the actual uh label So they they had the artist on hold who did the illustration for this to do it But then it fell through. Um, so we ended up having to rebuild that because some of the uh They wanted to essentially line up as close as possible. So there was a lot of uh Screwing around done on just getting that right. So this was the graphic I used for some parts That I would just grab bits and elements In my main batch here, which is Wakes up So you see this is all like these guys placed Um, not in 3d properly, but just to in a 2d world so I can put them back on later So this was using their their artwork pattern and then Along with uh, some of where is it? These that'll be stylized after Where is it? All right, so this is the track Excuse me. This is the track after of just the uh The the portions just that felt right to kind of do it and the sad thing is a lot of it gets lost in the um the motion blur, but that's uh It's fair trade-off. It's fair trade-off Can can I just see the schematic of your of that main action and paint build where you where you uh took all the little bits and pieces Okay, that's what I thought. Okay. Wow a bunch of that Beautiful And then again, this was the build and reveal. So if I go so front and back for this And then my transition is happening just over like 12 or so frames and if I just scrub through and look at the result That's it wakes up All the fans are spinning right now Uh, surprisingly not. All right, so I'm scrubbing through You see it was like about tracking them and then like even like those little uh The little cloud things at the top once this works It was a nice again, like an organic reveal and then again Like you get the timing right on that, but then when you see it in context with the cup move you you know It's a lot of you know fiddling and back and forth Um, that's beautiful man, right? It's like finding those anchor points Between the the uh the artwork on the cup and and what we shot with the drone Yeah, I even used for some of it. Um, it's somewhere in here I don't where did I put it? I'm pretty sure I used uh, here we go. I use this for which portion I think it was the most of the trees because that yeah, so this part I used and like they can't tell You can't tell the difference between the artwork and this one, you know what I mean? but that was just using uh stylized and just finding and tweaking um You know a preset and just for you freezing it because oh man, that's great. Yeah because again for this, uh it it was too different and to And forget and I just couldn't get it right but for the The landscape it kind of I don't get because I was going in there and putting each guy in and it was just a Not fun after a while. All right So the next part was building the uh the cup. So this is another example of that was a multi-chip clip So i'm just going to quickly do a 2d histone on that just so oops has to be on that Okay, it's up just to make that white so the edges when you see this might look weird But the source footage for this guy was this And I was like, please make sure you put tracking markers that are pointless on there and they did so that worked out good Um And again, so just some paint and cleanup. Um, and again, I just used the frame for this at flores, so it was uh 3200 by 1800 or whatever But then into my man got here. This is where I do my first It's how I'd like to do my screening cups and stuff I always like to kind of set it up on a frame Again ignore the edges because that was just me doing the the luma key because the alpha And then that's where I Kind of shows the bits that I wanted to be able to control after on that cup and you see Once they go through here, I just multiply them back into where the label was for the reveal mat type of thing and they kind of get Flur out and then we've got our Again, this is all being fed. So if I go here So that's being then fed by like that same reveal mat Just on that portion Um, so again, that was just to line up when we go into this guy, which is the main the main move but again So the cup stuff is where I was talking about so it always will set up my my frame of like, okay It's in there more and then I like to just be able to tweak So it for instance here. This was my light wrap type of thing just for that That right part which was already having that uh that kick right there And again, there's another little hit in here of just adding a color source And just kind of kissing that in just to kind of reintroduce And then again, this is just more, uh Again for the top part It's barely there, but it's just putting that kind of shadow back in. Oh sure And then a little bit of a harder one and then just a little edge blur as per use And then again, here's my color source for projections And there's my cup that I again just grabbed a frame. That's actually not moving And then everything gets built in the uh, yeah, this action here. So this was Yeah, so this was the counter which I Which I used for that And then this was the background Just to because of you know, we're projecting and we have parallax we're revealing. So this is just shrinking in Just using bi-cubics Again, you could have used the pixel spread way of just uh Feeding the mat and contracting it inward. I didn't think about that and it would have been quicker probably because you know Bi-cubics can really slow you down Um, but yeah, and then so this is where it started to get built. So in this guy Um, it's not the craziest stuff, but pretty straightforward. Um, so again, if I go to space f4 And I look through so this is what is set up really simple. Um Pretty sure even the Yeah, the geo was just the one of the default cubes Not cubes, uh Auto cup. I might have used the cup actually. Let me just um, I think I just downloaded a cup model. I'll just paste it in an action And just add a light so we can see And yeah, so I kind of downloaded a you know, really super detailed cup And then just projected it on again just using um the normal I'm always a diffuse guy for projectors. I only use the projectors node when um When I'm doing uh UVs and stuff really I just I just I just don't gravitate towards it Um, so yeah, so the this is set up in three stages. So in my outputs So there's one that's a label mat Which is that thing that had the animation before that you saw but it's the reveal So now it participates in the camera moves So the key with this is I wanted everything to be able to happen upstream and any time I did change camera mover time And I didn't have to worry about re-piping and you know passing through So that was that label mat And then we have our start label which again is just participating in that camera move And then our end label which is this guy but before the uh Again, that's this is why part of why that guy was built oversized too Because when I did I did my default uh extender, you know for uh Using the perspective and you know extending it out But you could really notice the repeat So I just kind of gave in and I knew I had to do it oversized to be able to get enough Of that detail in there for the for the reveal for it to work So that's that part and if I go here, this is just after this was just hiding some sins of uh Because I was using the motion vectors and uh the motion blur was just freaking out around those edges there. You see that Yep But everything else was looking great. So it was literally just um a quick and dirty, um Uh reveal mat just for that just to help me through to kiss that together And then once we kind of go in there open that up So again, I'm just gonna make that full screen Press play I'll loop it You see Transition works Feels pretty good. Again. It was just a fun one to kind of really tinker with and again like My sculptor you can see that foreground plane of the cut that happened here And that previous mat too kind of helps because it feels a little bit like a Like an extra dimension going past into that uh into into that world And yeah, it uh It worked out really good and I was actually pretty happy with that. The only other thing that was in there um was just the generic That's not gonna work because of alphas, but it was literally just the uh the track for the um, this is the only part I didn't plan smartly And this is why I like to go home and rethink things sometimes. Um, it was this one. I was like, oh I tracked to track it in here instead of after but it was also like, which point do I do it? Because if I do it in the previous one I have to worry about scale for If the text is going to be legible and you know what I mean So I still think I could have done that part in a better way, but um, yeah that again, it's uh Every job is a learning experience as you know, but yeah, that's kind of um Where that one goes. I'm going to see if there's anything else on the um the main spot See that's great though, man Does anybody have any questions for for Joel? Yeah, man, I always love watching your demos Joel because they're so it's it's um Everything you can you can see uh everything's well thought out I mean you can see even just in how you have the schematic laid out, you know, like the thought process behind That's um That's part of my thing too is I you remember the member before we had elbows or whatever knobs or what I don't know We're allowed to call them You remember when they were messier it was always uh, yeah But I still find myself doing it and it's the uh, where is it? If we go here It's the when you are, you know, wherever I still love that this is what this was why maybe messing before it was fine Because whatever you selected you did the alt double click you go back out here and you see where it is Do I know about that? Yeah, so that that's what got me through the messy times So if I'm using a different source any any selected media source all double click And then you go out and it automatically shows you where it's where it's All right, thank you Oh, that's great. Oh, I'm writing that one down. I mean, I know I'm recording this and but I'm writing that one down Yeah Ah Yeah, that's I think that's all that restored. Let me just have a quick word The chat is is exploding Oh my god, that's awesome. Let me see what's in this one. This was just Nothing fancy, you know, thanks Yeah, this is just some cleanup. There was a kind of time lapses shot that was done, but uh Don't have the setup. It was this guy, which was just using stills if I just press play But you know using stills adding like little rain elements The usual thing with um, you know with time laps and I think I used a louis I think I use louis's sweat too. I'm sorry. Ivar if you made a sweat one. I'd I'd use it So the rivalry will be born here but yeah, uh That's yeah, kind of where I ended up and what I was hoping to show but yeah, if anyone has any questions or wants to like Swear at me for working a certain way you're welcome to That's great. Um, just a couple of things. Uh, which is off the top of my head. What version are you running? Uh, right now. I am Um, let me see I wish there was an easier way Preferences is it help what's near this? I always know Um, I think it's 2020.2 So yeah 2020.2 And and what what kind of machine do you have at home? Everybody always, uh, Yeah, so this this is uh It was gonna be another build that I was I was a few years a year and a half ago I was gonna do another uh, linux build thing and I was gonna show, um Uh Like I was gonna do a triple boot machine. I was gonna have like windows mac and, uh The linux base for for, uh for flame But but all through like a virtual machine. So it would be a virtualized machine So I was going to be able to tab between but it would run gpu hardware pass through And I was working on that for a long time and then I was getting closer with it And I was gonna do some tutorials on it, but then um, I ended up going full-time And um, I'm gonna stop talking. So you don't think I'm a frog? Hang on Yeah, I go back Let me do this go back here You're oh the share. Yeah, I'll just do this. I can just toggle through. Hey But yeah, I wanted to uh, I really wanted to kind of get that going and I had like three gpu's ready And it was gonna be like pass through and it was progressing. I just had one Like the the linux one was working the windows one was working. I was just having trouble with the mac one working because I had a Uh ready on seven 16 gig gpu but anyway, so this machine then went on hold because I went uh full-time somewhere and uh, it just sat here until the uh The situation and I still had my old machine I used to that I built the custom one But I was like, why not make this one one a new flame one because I haven't used it. So it's a yeah, it's a uh, it's a threadrepper 29 50x I think it's a 16 core and then 32 cores for hyper threading, which is bullshit in my opinion um, and then 120 gig a ram, but it's not like crazy fast ram. It's just like whatever It's one of my titans. So it's the titan x Before the p, but it was Pascal. So 12 gig of gpu ramp, which I find is more than enough for a lot of my stuff 16 would be nicer, but I don't want to spend A couple grand just for a quadro right now, you know and then it's just uh, yeah, it just gets my second screen gets looped out through HDMI into my other machine, which I have just a capture card which then I will say when I do sessions now to I do a youtube live link and essentially Screen sharing my my broadcast monitor output and audio is in sync and it's 1080 60 and because I Fiber here. It's like really good and It's been working well. Yeah, that's great. That's great. I haven't heard of anybody using youtube live I've done like client sessions with zoom and I just that's one thing I've loved I mean, I know that there are a lot of very high-end professional solutions out there But at the same time, which are great and but but to see like how people have figured out Um, you know the workarounds and gotten into work so successfully is just I love it Yeah, it's um But I love it the best bit for me with the the HDMI out and I know everyone if they have an office one It's not as easy because of uh, it's usually just flight port or you know Is because it's HDMI out. That's where I tell my audio. So it's automatically embedded So when it goes through there, there's no sync stuff It's just like it sees the same signal and it's done, you know, it's a little bit You have to worry about the 44 40 edge shit. It's just like works Oh, it's excellent We're and uh kudos on the classic wake on pan. I see that in your hand. I you know, I mean, this is a real one Yeah, I get this for my mac, but you know, this is this is what's run on the flame. So I had a big one This is just a little one. It's just like a You know a little one. Oh, yeah, I had a big one when I was freelance, but then I was a It's having lunch at my desk, which I never did and it happened to be like instant noodles And I fucking spilt it all over and killed it and then I found this one on Kijiji for like 50 bucks Yep, I can tell you without without admitting uh responsibility for um spilling coffee on my wake home tablet Which I just took again to clarify not admitting it's like the old one like the ptz 631 it's it's what what you showed there. These are available on ebay by the way for 13 dollars It's crazy. No, so um, I don't know about the pens, but uh, should you you know for some reason the pen I actually got lucky Actually, I bought mine without a pen because my pen still worked. I was banking on it still working I saw a question from uh, paul Yeah, from paul. Do you guys think clients will trust work from home? Uh more More now in the future. I think I think so. I think yeah this this whole work from home Uh thing, you know, it's kind of thrust upon us and I think it if nothing else it took the stigma away And I think it's going to kind of change Online's a bit too, you know, I think a lot of places that do uh front of house stuff aren't going to be as uh willing to be the person that maybe got someone sick now, you know, like I think there's Like for me, I like to work from home because I'm really shit with people's names So being in the thing called everyone's name I'm like on it and it works really well, but I also found I've ever since all of this Even pre because usually again, you know, we're the most expensive part of it coloring online Usually you only have that small window unless you've been part of the pre-shoot and you know done all that stuff Whereas now I've found I'm spending even more time with people Uh Just experimenting before the online so I'm giving more of a chance to kind of build a relationship That you wouldn't get to when you're, you know, in a normal Which is different, you know, it's in a different way Yeah, I think yeah again, maybe I'm I'm the eternal optimist, which means I'm usually disappointed but um, I've I've been seeing uh, you know opportunities here in the in the whole lockdown to kind of Maybe shift the the workflow from certain habits and patterns that have developed over the years, you know, uh into and just to Take me advantage of it to find ways to to either improve the relationship you have with the client or get in, you know earlier or just uh I don't know make it better. It's really the short way True cool Does anybody have any more questions for Joel? Oh here comes one From brooks with your work from home sessions. Do you have them watching you all day? Or do you just chime in when you're ready to show them something? Um, I usually I'll usually send them out of links. Sometimes it'll be like that They're the whole day, but then if they ever do happen to go off like I'll only be sharing my My screen because then we'll be on the zoom or whatever the hangouts for chat So my voice is synced because of the audio like because the actual delay from where I'm scrubbing into what u2c is like Just under two seconds I usually will leave it on um If they are stepping away just so they can at least and I can see right? It's the best but you can see how many can concurrent viewers there are and if they're still if they could just be still logged in Um with the page on another thing, but at least then as well I like it that they can see what we're going and see that we're not you know what I mean like it's kind of I also like to When I do do that To show my screen share like I did there in the way of it's not just the broadcast out Because I find again, that's just another thing that Separates it from we just push buttons and it's like easy. Yeah. Oh, that's When um, that's how I would always do my client supervised sessions. I would switch over to like the show Show show all or whatever it is on always show screen. So that way they could see me roto They could see me they could they could see how the the sausage gets made and they get engaged They sit there and watch, you know, well, I've actually found even like I've been pretty till a lot more Conversations with client and agency too because usually I don't know from your experience, but usually it's done You know, they'll take a broom or something When they're you know, if they're trying to whatever but because we're all on the same call and they'll just come in I'm actually part of that conversation now too. So I'm getting more insight into the The source of the pain You know, so I have a lot more empathy when When, you know, some jobs are just shit shows, which you know, some are and some aren't and that's why you appreciate the ones that aren't um, but yeah, it's um It's kind of open me up to see more like We're all just reacting, right Yeah, oh yeah, well, I mean you're you're a partner in this like you said, you know, you're you're trying to help them Not only solve their problems, but like make their dreams come true and if you can if you can You know Hear direct from like either their client or whatever the feedback is, you know, what what the problem is You know, what the the concern of the challenge is then you can be you know, you can either I mean the nice way of saying it is you can help them, you know Find a solution to the problem But also you can sometimes find a solution that still makes you feel creatively fulfilled You know and not just make the logo bigger Or make the shadow darker or whatever it is, you know, if like, you know read abilities of concern There's a question here from an anonymous attendee Which is an alliterative name and I do appreciate a good alliterative name That I don't know if we can answer but uh, what is the day-rate range for work from home flame Considering what we carry that we carry the cost of software utilities, etc um I mean like Like when I was freelance you can it just depends some you can go Canadian from I know that it can vary from say 8 to 12 or even 1500. I know some people even charge more um But I just if you are gonna do that you could you should incorporate that cost into your right um And you know if you are worried about your right be prepared to Stand by it because people talk it down But like also if you are going to charge it at the higher end be prepared to produce at the higher end, you know completely, you know, I get questions. I've seen them on logic, but I get them a lot also, you know of um Should I charge a different rate if I have my own system at home? You know, I mean this is pre everybody being at home But uh, the answer really was it's all over the map I know freelancers who have their own system that charge the same whether they work on their system where they come and use yours I know some that charge less To come into the office and use your system and I know some that charge more You know, it it really depends as much on your clients and your and the market you're in I think I mean when I was when I was freelance before I I just had a flat rate. I didn't bother with that like uh, I didn't even have like a cancellation last minute thing because I don't know. It didn't it never screwed me. I guess and then that's why but I always had A good amount of consistent work. So I was lucky in that way, but I mean and again, it's like literally it's like anything it's how How detailed do you want to be, you know? Yep Here's a question another one from brooks that I actually wanted to ask you. I noticed All the master grade notes you had in batch and I've spent that's one of the things I've been doing during the lockdown is trying new things Um, maybe because I don't have a client over my shoulder and I've been using master grade more and more and more And love it. Um, brooks is wondering what you think about color on flame now with all the new tools um, I I still I still think it's like say for instance the The effects tab I still Feel like that's a work in progress. Um, just personally um Like it gets really not intuitive when you if you work vertically and you have some gap effects and you have, you know transitions Like it's I feel like it's more designed just for color. I do like the um, like The master grades note is great, but I still wish we had some stuff that we didn't have to rely on for For user-generated stuff like um matchboxes with like color match and stuff because I still find myself Even though I know it's not the right math for when I'm just trying to get stuff in to start with I will still use um, you know the color correct for the for the match or the The color warper match or just the way I can just pull off the highlights With the histogram in the color corrector Like I can't do that with the master grade. So I use more the master grade just for finer Because again, it's it's you can do finer increments. So if I'm kind of putting stuff somewhere, I find it a lot more better um for gamma stuff, I find it good but then the again, it's like a I just feel like it still kind of goes from You get into clamp and over value values really quickly I find and it could just be I'm not used to it enough But I just I I again, I'm using it more for like finesse into certain areas without being heavy-handed and for Again, just gamma adjustments and just kind of brightness because it handles that better For me. Yeah, gotcha Do you have a like a color calibrated monitor at home? Do you have a program monitor at home? No, so I'm just using a lg It's like an lg 31 by 9 21 by 9 34 h my middle one's just like for my broadcast that which which is the Windows, which is just like a 4k monitor And then I just have another monitor see for me. It's like Even like when I was freelance. I'm always going to I'm always going to be working with what's already colored, you know, this this this monitor here is um, it's full It's full s rgb So it's not like a rec 7 9, but it's full s rgb And it's like I've never had stuff come back in color because I'm always Getting something that is already colored and I'm gonna either match it into that. You know what I mean totally and always my I never used the I don't know. It's like You know sacrilege and whatever for some people who do do it, but like I had for my home setup. It's just my my extra hdmi out Into another monitor, you know I hear you. I think I have the same lg monitor at home. I love it Yeah, it's perfect. You don't you can work into up a lot and still have the media panel and it's great Mm-hmm. Well, cool. Anybody have any other questions for Joel? Alex has some some feedback about using the effects tab Definitely check out the Chat window guys. Okay. Yeah, I just I I know it's good. I just need to like I I haven't I've had a chance to really Put it through its paces yet and that's part of because I'm in the first iteration of the beta when it was still called image or image tab or whatever image tab or um I just didn't feel like I was there yet, but um, I should kind of Give it a go more. I do like that It's in that same world as luster of just being able to kind of pop through really quickly but that's also what I don't like too is when It's just like wearing it on the timeline and you have you know some heavier batch effects or whatever and you do jump to it even if it's rendered sometimes it still will just Think for a second It's like I don't know if you've ever hard committed something that's completely rendered on the timeline with a bunch of multiple batch effects It's heavier. You go add a dummy layer on top and add two Two points just for you know cuts in and then try to hard commit it You get a lag when it adds that those points usually unless it's like to the to the clip duration. I don't know I just don't like I don't feel the the speed is What it should be because what the coolest part of what the image tab or the effects tab should bring to me is what the efficiency And speed that you get from luster was and I still don't feel the same with that But I feel like they're making strides with the uh, you know, the the viewer now in the steel store That's all getting better But it's like, you know There's just more things. I think that need to be there like it'd be really cool I think if there was a in the media hub where you can save stills like It'd be so cool to just not be able to have a no bin but just grab a You know your fbx camera and that saves as an icon in your thing with all your stuff or you know what I mean like stuff like that should still Not be hidden in a menu Where you save and then take you know stuff like that shouldn't take you out of the interface Yeah, but but it's again, it's it's still being developed. So I can't complain. Yeah step by step I think in I started using the effects tab more in 2021. We just got 2021 installed uh company-wide Just with that whole compare workflow now, you have the option to at least compare You know, if you're trying to line up even something as simple as trying to line up a repo in action You know just being able to do that uh and and see your rough cut or whatever was uh Changed it for me or it gave it like it became something that I wasn't I intentionally didn't use because that feature wasn't available to me and whatever version we were running, you know, uh It opened it up and then I think and also in 2021 like switching from the effects tab to the timeline tab Is a lot quicker. Um, I guess just from refinements under the hood but I haven't had an opportunity yet like I really want to try it. Um When I have some Some time to like figure out Mistakes, you know figure out pitfalls like so far the things I've done while I've been unlocked down here that have been conform related Have been that like here's all your prep 92 of it It's going to be a shit storm and it's you know, we're all waiting for you. Is it done? And so in in in that environment, I can't really kind of you know experiment with A brand new workflow and it doesn't fall for that task. Anyway, kind of yeah, right as much. Yeah It is the right job with the right amount of time. But yeah cool I'll check all right my friend Alex. Oh, he's saying it's the new effects explorer Which works in batch now too. Yeah, I just need to play more For like for the same reasons and you just said for that. It's like Yeah Well, dude, thank you so much Joel. This was awesome. I truly appreciate it. I'll double tap for the win and uh No, but seriously, man, thank you for always like sharing so much with the community and uh, and it's just great to see again It's um a pleasure and I'm always humbled that people find my stuff so useful. So yeah, it's um Always a pleasure and I hope to do more of these tutorials and breakdowns soon too. I've been Had an interesting couple years, but yeah, I'm gonna try and get back into the swing of it Sweet. Well, thanks, dude. Appreciate it All right, let's close this out here Just move the 10 000 zoom windows Even if you have an ultra-wide monitor and a second monitor, it's never I find is never enough So yeah, definitely check out Joel's website joelosis.com for all of these tutorials And uh, let's see what we have coming up for you here coming up on logic live I have a whole bunch of sessions lined up next sunday. We're going to interview stiff on the brie from autodesk to talk about all the uh parts of the software that he's in charge of so much stuff under the hood so many things that like, you know Maybe they may not be as as sexy as uh machine learning, but you know You use them every single day and he's also Like the funniest guy in the world. So i'm really looking forward to that interview That's going to be followed Uh by the sausage king of chicago himself brian higgins on july 12th andy davis on july 19th naveen sri vastava, uh also from toronto on july 26th august 2nd we're going to interview fred from autodesk august 9th. We're going back to chicago for randy mackinty And august 16th We've got some great feedback from users who wanted to hear more about how flame is used in production with shotgun So we're going to do a whole session on that on august 16th I also have a big announcement. Uh, we're going to start doing a logic live podcast Uh, and I hope to have one ready for you guys in the next week or so Uh, so get ready for those. I know i've gotten some feedback from from uh users from uh Users and listeners who want to be able to listen to this stuff as opposed to just watch it So we're going to do a podcast series Be sure to check out all of our past episodes and a bunch of other great content on logic dot tv And please take a moment to subscribe to our uh to the uh youtube page We're already up to 470 subscribers uh, I want to thank again our Our sponsor our sinuses oceana solutions integration and support for digital content creators find out all That they have to offer at sinuses.io Supporting flame artists since 1997 That's going to do it everybody have a wonderful week and i'll see you next time