 All right. Well, you know, it's regular as clockwork. The minute we start here, one of my cats wants to come into the room. Yes, you want to be part of Logic Live? Okay. Lovely. Hello. That will be of course until she doesn't want to be part of Logic Live. All right, everybody. Welcome, welcome, welcome. My name is Andy. Welcome to another exciting episode of Logic Live. Today we're going to do Maya for Flame Artists with Yuri Tempulski. Before we begin, just a couple of announcements. First, I want to thank Sinises Oceana, who's our sponsor for Logic Live. They're my reseller. They've been my reseller for about 15 years. We couldn't do what we do without them. And they've always been a huge supporter of the Flame community. They sponsor user groups all over. They've always been contributors and supporters of One Frame of White and the other contests that we do. So I just want to thank Sinises Oceana, Solutions Integration and Support for Digital Content Creators, Sinises.io, supporting Flame Artists since 1997. I want to thank everybody for all the great feedback that you've given for these Logic Live episodes. I've got at the end of this some new ones to announce for later in June. And next week should have a whole bunch more to announce for you, so I'm super excited about that. And I don't know if you can hear the cat, but the cat wants to get out. Can you wait till I finish my intro, please? No, apparently not. Well, hold on. We now know who runs the house here. Okay, I'm going to paste into the chat a few links for everybody. The first is, you'll see it's a Dropbox link to some of the content that Yuri is going to be showing today. So if anybody wants to follow along, either now or later on, you'll be able to download the setups and some images. And then I'm also going to paste in there the registration links for the next three Logic Live sessions in case anybody wants to go ahead and sign up for those. So that's there in the chat. Please remember to use the Q&A for anybody who has Q&A and or has questions, and we'll try to get the answers going. And let's get into this. I'm happy to welcome to Logic Live, Yuri Tempolsky, coming to you live from Sao Paulo, Brazil. How's it going, Yuri? Hey, what's up, everybody? Hey, what's up, Andy? Why don't you tell us a little bit about yourself, man? Oh, well, as I said, I'm Sao Paulo, Brazil. I started working with Flame, I guess, eight years ago. I started actually with Smoke. I came from motion graphics, then started learning Nuke. I hadn't know much about Smoke and Flame. And then I realized Nuke wasn't much in Brazil, so I thought about learning Flame and Smoke. Here I am. Cool, man. And learned some Maya in between. Just did a really nice course and got me going. Awesome. Well, thanks for doing this. I really appreciate it. Why don't we jump right in? If you want to go ahead and share your screen? I know, you know, as we saw when Christophe did learning Nuke for Flame artists. But all of these apps are huge in terms of how deep you can dive. But I'm really looking forward to this. I really think that Yuri is going to, from what I've already seen, does a great job at kind of demystifying the million gray buttons that every VFX app has. So Yuri, why don't you take it away, man? Thanks a lot, Andy. So first of all, let me show you guys this. As I told Andy, we're in this social distancing stuff and things like that. So I felt as I wasn't working, I felt the need to work some. I was missing Flame and some CJ stuff. And so I did this shot. It's probably going to get a little laggy on Zoom. So I shot it with my iPhone and did some motion to some match moving with PFTrack and brought into Maya and downloaded this TurboSquid can. So because I don't like modeling. And did some stuff around. So of course, I could then bring into Flame by itself. And here I already cleaned the 2D tracking I did. And well, for some reason, the shadow is not working. So this is one of the things that really bothered me when we work with CG in Flame. Sometimes it gets some stuff that can be a bit more simple with ray tracing gets a bit annoying. But I probably would have got a pretty good result with this TurboSquid model and this BG and all. But the first thing that bothered me, and if we take a look at the rough fronts of the can, is that in the can by itself, you'll have aluminum here, aluminum down here. And only this middle part is labeled and tinted. So and with this TurboSquid model, that's not the case. We have everything, I'm sorry, everything's tinted. So from bottom to top, mostly just this part is not tinted. So that bothered me a lot. I thought about getting rid of it with UVs, but with Maya that would be a bit more simple. So I'm going to show you guys a bit of Maya. So when we open Maya, this is how it turns out. This is exactly how it opens. So this is the main viewport. It opens with the perspective viewport. So if you hold Alt and click, you can orbit, sorry. And if you hold Alt and right click, you can zoom in and zoom out. Alt and middle click, you can pan. Just showing you guys a quick tour of the interface. And if you press space, you'll have the four-up view. If you hover in whichever screen you want, so if weather's the side, the front, the top, you can just press space again and you're there. It's an orthographic view, so you cannot orbit. You just can pan and zoom. And this thing here is called the hotbox. So you have all the dropdown menus from Maya. Maya divides the dropdown menus. There are so many that when you're in modeling, for instance, right here, you are rigging. When you go, you see from Windows 4, it changes everything. So I usually go in modeling. And if you want to go deeper, you can come in this hotbox in every dropdown menus here. This part is the outliner. This is like our media panel from Flame. It works the same way. So everything you put in the scene will turn up here. This up here is the shelf, which is like our FX nodes bin. So there's a lot of tools. They're not all in here in Maya. So once again, there are too many. You can also create one. So if you come here, create bodyguards. All you have to do is hold down Command Shift and you create and you put on new tools in your custom or even on existing shelves. Right click, delete. In here, we have the main tools for dealing with stuff here. And we usually use the shortcut. So Q is just for selection. You can, if you bring in more than one model here. Oh, and also A frames everything that's in the scene. And F frames just the object we're selected. Q again. I'm just so happy. There's two things that are the same keystrokes as Flame. So there's two things I don't have to relearn. OK, now you'll have the third one. H heights and heights, just like action. So there's a couple of things that are similar. And F frames, oh. And then if you press the key, so Q selects. W is the translate tool. It's right here. E is the rotation and R is the scale. I have no idea why R is scale and E is rotation. I think it would be better if it were a bit different. But who knows? If you come into the channel box, which is Control-A-R, you can go into these tabs right here. You can also, this is like the access properties. You can zero it out and put on one. And we're back in square zero. Also, here are for the viewport settings, instead of pressing space bar, you can come in here. In here, also here first. So new scene, this is like WordWrite. So new scene, open a scene, save scene, undo, redo. This is the snap to grid. It's pretty much the only thing I use up here. And the render buttons. Get out. And what else? What else? OK. And here are some things for the viewport viewing stuff. Like you can see it in wireframe. So smoke shaded. And here you can see with the shading, like the textures you can preview it. Here you can select the camera, lock the camera, stuff like that. Let's dive in. I'm going to show you guys a little bit of that scene I did. I'm going to be, it was just one can, just to be a bit more efficient. So let's go into file, import. And then we have, ah, da, da, da. So right here, I have the OBJ from TurboSquad. It's just a simple OBJ. And it's already huge. So I'm going to, first things first, spacebar, front. And Maya works better, especially Arnold works better with real life. So real, real world size. So create. And locate. And let's do a measure, a measure. Measure tools, distance tool. So now snap to grid, so things get a bit easier. That's actually a really good tip. Yeah, your dimensions are accurate, you know, or at least close to the real world, especially, you know, with something like Maya and Arnold that's trying to simulate the real world. Exactly, exactly. Things that don't match if you're, if the can is actually 30, 30 feet tall. Exactly. Since I remember when I was starting and we're learning Arnold and people were talking about how it's physically based render and I was okay with that means and I started to dive in and I realized how the lighting changes once you work with real size. So, so the size of the can of a real life, real world can is 12 centimeters. Maya works custom standard as centimeters, but you can come in windows settings preferences and on preferences, you can come in and settings. And right here you can change to millimeters, meter, inch, yadda yadda. Since I'm in Brazil, I'm used to centimeters, so. Oh, that's fine. No, let's go. That's totally fine, we're... We're... Yeah, so the can, the can that comes from TurboSquid is divided on this geometric, this match. So we have the main part, which I'm going to divide it. Then those street tops here, let's group them. So, no, not yet. Go back to here. So I selected them all are for scale. Gladly, the axis in this case is already down, is already in the right position. But I'm going to show you guys how to change that. So let me put on W. So we have the, the translate tool. So if you want to change the position of the axis, you just press D. And then you can, oh, nice, D. There you go. There you have all, everything changes a bit. And you can change the axis position. And the D again, and you're back at your main tool. So now we have 12 centimeters. Now let's delete the measure tools. And back at it. I'm just going to change this part. So, done. So I'm going to right click, nice, right click, and put on faces. With the Q button, this selection tool here. And I'm going to select this part here down below. It selected more faces than I wanted. So if you press Shift, you just deselect it. With Shift, it gives us this plus. So you can select more. If it's already selected, it's going to subtract the selection. Let me press W just to see if I'm right. Yes, I'm right. Let's turn off Snap to Grid. And then we go and Edit Mesh and Extract. Now it gives us a lot of tools, a lot of settings. So I can already put an offset and all, but we don't need this here. So W, and we're back at the tool. And let's separate this other part here. So back in faces, Q again. And there we have it. Let's W. And OK, that's pretty good. Let's Edit Mesh again, Extracted, W. And there you have it. And now we have Maya for some reason does a grouping of everything. I don't need grouping of that. So to change things to reorganize in the Outliner, you have to hold Command and bring in or else if you just, it would just do that. So Command and then this last one. And this group is not needed anymore. So that's deleted. I did it not a good. So now we have more pieces of the can. So it will make it easier for us to shade it. So let's go into Hypershade. So Windows, rendering editors, Hypershade. It's very overwhelming, Maya. There's so many tools and so many Windows. But mostly I found out that I don't use so much. So those are two shaders that come along with the OBJ. Let's delete them. They're not needed. Those three shaders, they're for the viewport. So you cannot delete them. So again, there's a nice tip here. If you want to, for instance, bring in and do this kind of stuff and Maya and just divide the mesh and stuff. And you want, for instance, to start a shader and put on all the fuse maps and specular maps and bump and whatever. You can use a font or a Lambert, for instance, which are the standard Maya shaders. And they will come to flame exactly as you made it. So they even link all the maps. But since we're all in Maya and Arnold, I'm going to use a standard Maya Arnold shader, so AI standard surface. Let's bring in two. I'll use my Arnold camera under the standard Maya shader, but it is more effective and has more tools and less limitations with AI standards. So the HyperShade, I didn't talk about the HyperShade. The HyperShade has all the stuff, but I usually just use this tab, the materials tab, and you can bring in here. This is a node-based. Also, everything you do in here will come graphically. I don't use that much, but it's very handy. I won't get into deep because we don't have much time or else you're going to fall asleep. So this, let me rename this. So label SHD with Maya, if you were once with. It's better to rename stuff because it gets really tricky. So I'll name it SHD. And now I'm going to apply this. So bring in a bit to the side. So I'm sorry, go down. Thank you. So let's get into our other down. Sorry. There you go. So here I want the label. So right-click on the material, assign material to selection, and now the rest I'm going to put in the Aluminum Shader. Let's close the HyperShade. We don't need it for now. Let's group it all. So Command-G, Groups, Stuff in here. So as you can see, I didn't name it. So now I'm going to stop. Thank you. All you have to do to rename is just double-click, Control-A. So now I have the Attribute Editor. And here we have all the tools that we have in the channel box. Like you can do the redo the scale and stuff like that. But usually the channel box is better because you can select more than one and change at once. Let's go back to the Attribute Editor. Oops, Attribute Editor. So here our label shader. So with our label shader, I'm going to first frame. I'm going to come in this little checker box here and come into File. Then we have already the image name. Click on a folder and write in, sorry, is in Portuguese. This map is exactly, I just took the map that comes with the 3D front table squid. So I just came into the Photoshop and just changed the color, changed the logo and stuff like that. Of course, I didn't use that. I didn't need it. So I used the base 3D model just to base 3D map to help me with scale and stuff like that. OK, we have it. And now we're already, we can see Shaded because we're in this mode here, right in this globe with a checker box. Now let's bring in our PSTrack scene. So import. Yuri, this has been great, man, because so much of trying to pick up a new piece of software is to try to find the things that you already know how to do from the other pieces of software that you know. So you have little things like why do you use the attribute editor versus the channel box? And little things like what that checkerboard icon does, you know, like loading in a file. All these little things are just so helpful. So thanks, man. No, no, no problem at all. Sorry if I'm being too fast-paced. But if anybody has a question, just let me know. But yeah, I feel like this is, we need to connect with other stuff. So let me just, I import it as you guys saw it. So now we have the mushrooms. Yeah, I love them. It has a lot of other stuff, but the mushroom is the best stuff for me. So OK, now I brought in the scene. And as you guys saw it, so PFTrack does a really well job giving us everything already in place for Maya. So it gives us a scene node and everything here. So I come into the panels here. Now, on perspective, we have the camera. So if you click here in the film gate, you will have, and the resolution gate, you will have. Yeah, that's perfect. You will have everything that will show up in the render. So we already don't need. We don't need the trackers. I already did the scene with the ground on a zero. So we work pretty well. So that's the lead, the tracking markers, and also the mushroom. We don't need them. And get the can, E for rotation, and W for translation. Let's put it a bit in the center. And now just a quick, in a hyper shade. This is a bit annoying. This is for the PFTrack. It gives us the shading for the mushrooms. So it gives us a lot of shading. OK, my computer's not helping me in those live, right? Want to go around? That's right. Oh, great, Maya. There you go. So of course, I'm going to delete all that. This is really unwanted. And it gets our scene a bit heavy. So there we have it. Let's close it. And now there's another cool stuff. So in our label, if you select, then here on the attribute editor, it shouldn't. OK, come on, baby. Let's click on Right Click, Object Mode. That's why. So now we have the label shader. And this is one other cool stuff from Arnold's standard surface. You can come in Presets and put on, for instance, in this case, I did use the car paint. Works really well. And on the rest, and on the aluminum shader, let's Presets again. Brush Metal works really well. Now let's bring in our image-based lighting. Arnold works well with standard Maya lighting. So usually, I use point light since what lies from here. But for image-based lighting, it's better to use the Arnold lighting. And the Arialight is better for Arnold, too. So let me bring in, oh, first, sorry. On panels, let's actually, on the Outliner, let's select our camera. And right here on View, you can come in. And image plane, and import image. And then on my shot reference, let me bring in the right shot. So 3, 1, 1, 8, there you go. Now it gives us these options, image plane shape, right in the attribute editor. Let me scroll back down. Use image sequence. And as you guys can see, now it works really well. Oh, of course, I forgot to talk about the timeline. Down here, we have the Auto Key tool. And now, so if you have the camera selected and you come in Windows rendering, sorry, animation editors, graph editor, we have the good old-fashioned curve. So if you're animating stuff and you just have to select it here, and you can play with the curve. OK, da, da, da. Now the lighting. Let's go back to our lighting. So area light. And it will give us this AI skydome light shape in the attribute editor. So come in in color, the checker bar again. File. And then let's get into file. So I was in an iPhone, right? So I didn't have much tools to create on HDR. So I did a panorama with my iPhone and gives me this JPEG, which actually worked better than I would expect it for the lighting. It's not perfect, but it's pretty OK. So again, let's select the skydome light. Once again, on the AI skydome light shape here, let's go into visibility. And here on the camera, I'll put it on zero, just so it won't show the on the render. So let's try our render over here. So in here, we have the render settings in this one here. I won't go too deep in this. It's actually more intuitive than it looks. It's a bit scary from the get go. In here, you can set the AOVs. All you have to do is just click here and here. And then you can delete. And here you have the system, some stuff I don't even know how to use it. There are no render. Here are the sampling. This is to get more resolution and less grain. In this case, this shot was really OK in terms of I didn't have to change the sample shading, which got me really happy. And down here, we have the, so we set the right camera. Right in red are both cameras. Usually comes with the perspective for standard. And here are the presets for resolution. Let's leave it at 540 for now. Let's bring in our render view. And let's just do a really quick render just to see what we have so far. And so far, what was giving us is probably giving us the perspective. So render, nice, render camera. Now we'll render the right camera. You're running this on a MacBook Pro right now, right? Yeah, I guess it won't work. Yeah, sorry, I forgot to say. Sorry, bear with me, guys. This is an old MacBook Pro, actually. Well loved is what we like to say. Well loved. Actually, he's quite a warrior. He helps me a lot. I can complain about him. So let's go back. Already, I don't like how the shading is from the preset. It's too reflective. This soda can is from an organic brand in Brazil. I like it. And it's a very, I don't know, I forgot the word in English. It's not so reflective. So let's come in to. Yes, exactly. So let's go right in specular here. I'm going to put a roughness of 0.3. And right on coat, where's the real reflection? Let's go in 0.3 as well. Let's marquee what we want and do a render region. Come on, baby. It is really amazing how deep each one of these panels is. But yes, they're. You start off simple and then you can always, you can always get more into it. Yes, exactly. There's so many. And there's there's too many tools. There's and and pretty much. But what I found out is if you go into modeling, if you go into rendering, you can or if you go into animation, so guys from animation do stuff that are really amazing and get into tools that I have no idea how to work. And the guys in the really model, they also do so much. But since we're just flame artists, just trying to get some some more tools to add for us. So I found out that we can block more and just we don't have to dive in so much into Maya and be more generalists in terms of knowledge. And also I dove in a little bit more into in terms of lighting and rendering, which is what I felt. I really needed and just quick modeling to create really quick assets and to learn how to edit models that we can get in from TurboSquad or whatever or somebody can send us a model and stuff. So back at it, this is this is pretty better. This is better closer to what I wanted. But again, sorry. So the thing I didn't like, since it's not an HDR, it's not that correct lighting. I have the lighting from the window that I wanted here. But this lighting is annoying me. So what I did was a quick photographic trick. So let's go into panel perspective to get a little bit easier to work and come into view. No, sorry. So poly modeling, create a plane and R for scale. Let's scale a lot up. E for rotation, year and W. And this is just for, and let's go back into our camera. This is just, oh sorry, wrong side. This is the side below. This is just for blocking the lighting. Since we're on image-based lighting, we cannot do light linking. So if we weren't using different lights and we wanted to shade different parts of the desk, we could go in windows, relationship editors. Then we would have the light linking, which is not visual as the action, where we use a light link connection. But it's pretty straightforward. You just bring in, select your light and unselect whatever you don't want here. So I've got it. So now we don't want this to render out. So we don't want this plane to show up. So we come here right on the B plane shape, go in render stats, and just go in primary visibility. And it's hidden on our render. So once again. That's actually a great tip. I wonder if that works with IBL and Flame. Can you put something like a card to block something you don't want to see reflected or you don't want to use for lighting? I actually have never tried that. But I'm thinking, maybe if, yes, I'm thinking yes, maybe if we use the output to not show the plane, right? I think in my work, I have actually never tried. It's a question for Gabriel Garrido, too, who's on board. I know he showed for Logic Fest using almost like painting bounce cards onto your IBL. I guess you could make those areas black. Yeah, that makes a lot of sense. But I think I can think that it would work. But I have never tried. So as you can see, I forgot. Oh, sorry, I pressed that one. If Chrome comes in, then we're screwed. Please go away, Chrome. You're too heavy. You love to eat memory. You can hear your computer crying all the way here in New York. Yeah, I can't imagine that. Please, Chrome, now. My memory. Does the render view here, does it keep like a stack of your previous renders? Yeah, that's what I was going to talk about. I forgot to do that prior. But if you come here right on, this is called the keep image. So you just come here and boom. And it keeps the prior image. Here, you delete it and or not, but it gets there. And you can do a second render. So let's do one without the blocking. So again, just another region. That's good enough. So as you can see, we've got a lot better. So I have a light over here. When I worked, I put also a spotlight in front. I won't get into that because we're already, I'm thinking, I'm overwhelming already too much. But this is pretty much. And of course, I put on a plane as a floor so I could project shadow and reflexes and stuff. And then I divided with render layers before sending it to render and go into flame. So this is pretty much it. If you guys have any questions about this, is there anything about this specifically? There's one question about preparing the textures. Do you need to prepare the textures in linear color space, like an ASUS CG? You can. I didn't. You don't need to. Maya, actually, this is something I'm, this is one thing I didn't delve into much in Maya in terms of ASUS workflow. So, but I don't, I didn't, I use the sRGB. It works really well with sRGB. Yes. Let me get into our, the, the surface. Select it. So, OK, our label shader. So when you go into the texture, which is right here in color, just click here. And you can see it's, you can change here all the color spaces and works around here. But in this case, I just use the sRGB. Usually what I put on raw, for instance, is bump maps. Bump maps I usually put on raw. So you have more information, but it also depends on how you prepare the textures for the on Photoshop or whatever you want to. Something else. So let me show you guys just something that might be really handy for flame artists really quick. So I just started a new scene. So I'm coming here, I'm going to bring an illustrator and do a quick extrusion. So you guys see it. So you come in, create a WR Illustrator object. The first tip I could give is that the, for some reason are at least the prior versions of Maya, I think, 2017, the last I heard. You couldn't work with Illustrator AI from newer versions. So you have to save it as Illustrator 3 or 8. I usually go 3 because I'm pretty sure it works. So it is. And then I forgot something. That's a great tip, man. Thank you. No, no problem. So create. So you can, there's also this other stuff from Maya. Some tools have these little box here, which are for giving us more options to create stuff from in Maya. So this one from Illustrator, you can start the bevel here. You can define how you want the bevel here and then create it and then, of course, add it later in the attribute editor. So there we have it. So right here on the bevel plus in the attribute editor, you can change the extrusion settings. But first, as you can see, it probably has something to do with the artwork from Illustrator. It goes way far from it. So let's modify and center pivot. And now double. And before, it was here. And I center it and it moves right here. Let me put in the right spot. I'm on front view again, snap to grid. Just bring in perspective grid. And once you change this, of course, if you come into channel, you will see that everything is not on zero. So you can come in here and modify and freeze transformation. Now everything's zeroed out. And it will be easier to work from now on. Let's go back to our attribute editor and let's put on more depth or more extrusion. And then as you can see in the attribute editor, as you do new extrusions and you bring in new stuff to the geometric you have, this will just go far. And the scene gets really heavy. So I'm happy with this extrusion. Now let's just change a bit the beveling. Maybe more, just really ugly. And come here and edit, delete all by type and history. And now you cannot change the extrusion, but things get better. It's like I can find a reference of something in flame like this. But you basically, you clean the undo and do stuff. But scene gets lighter. So I guess that's it. That's one cool stuff I want to show about flame really quickly, which is what I like about having both tools at hand. So here's my compositing batch. So I have the beauty here. And for some reason, my CryptoMatte was, I want to run it for you. My CryptoMatte wasn't working really well. Let's see if I can show you. That reason is because you're doing a live demo. Yeah. Yeah. No, first I have no idea why my CryptoMatte didn't work. And it just showed up like this. Every Crypto object and Crypto stuff, I tried several kinds of renders. And Crypto wasn't working. So I, of course, I did some mats and mats from Maya. And then I realized, OK, I can go. If I need more mats and I don't want more time of rendering, so I come into an action and I bring in the scene with the camera and all. And then we have the mats. And then with Selective and stuff, you can do the matting right on a 3D with a 3D object. So nothing too fancy, but I felt like this could be one other stuff. And also, after I did the render and I got, and this is the part of doing your own stuff, you're never happy. I'm never happy. So I thought about I need more to get the can more wet. But I thought, OK, I won't render this again. It took me a long time to render everything. So I brought in, again, the OBJ with the FBX with the camera and started playing with some diffuse stuff to create a specular map. And I haven't finished this because I started working. So this will go later. But it's one other thing that having both tools and having Maya to set up and clean everything and bring into Flame as an FBX. Of course, with the new versions, you can use the new workflow with Santa Maya and Santa Flame and play even more. I couldn't show this because I'm on Flame 2019. My MacBook doesn't work with 2020. And also, my Maya is all set up with 2019 with Arnold. And I felt like it would be too annoying to change versions. So this is pretty much it. If you guys have any questions, sorry if I went too fast. I wanted to show as much as possible and without giving you guys. Oh, no, it's great, man. Again, like everyone can see, there's 10 million options in Maya. It would be impossible to get through all of them. This was great. This already answered the first 10 problems that I was having when I first opened up Maya. And it's just like, how do I get there? So I thought it was great. Yeah, it's too overwhelming. When you first open Maya, it's way overwhelming. I remember the first time. And that's why I think it was, and it helped me learn Maya to better understand 3D. So even as a flame artist, it helped me to deal better with 3D inside flame or even nuke. So it was great. Does anybody have any questions for Yuri? That is a good sign, man. Hopefully, yes. Or not, no. Or people haven't seen awesome. That was great. So hope that was a good demo. Hope it helped to understand a little better. And once again, thanks for the opportunity. You're giving everyone with these events, Andy. This is just amazing, man. And thanks for the opportunity of being here and sharing stuff. Brigado, me y amigo. De nada. How do you manage render passes with flame? Can I show that, Andy? Do you think? Yeah, sure. OK, let's go. OK, sorry. Grisha Hun, I hope I. So here in render settings, we have the AOV. So most of the main AOVs, so for instance, Albedo, Coat, and a lot of them, Diffuse, and Speckler, Emission, Opacity, blah, blah, blah, blah. You can set it up right here. It will give us all the AOVs here. And Maya will do the separation for us on the 16-bit EXR. Also, in here, you can say you can go on a half precision. If you click on half precision, it will give us a 16-bit instead of a 32-bit, which can get really ugly. We all know that how it goes. But also, for instance, in this scene, I won't open the scene because my computer crashes. But then we can come in this little icon here is for the render layers. In render layers, you can, for instance, so I'm going to bring in here. So we already have our logic sign. Bring it up. So for instance, you want to separate one object from another in the render. So you can come here and create render layers. So for instance, I want just to sign the logic render later. You can put on the preview. And if you come here and create collection, and then logic G. And then just bring in the poly surface here. Sorry, wrong place. You've got to drag in this place. You drag it in here. Can you help me or not? Command, right? Command and drag. And boom, there you are. And you have your render layer. And then let's create another render layer for the floor. Create a collection for GEO. And then bring in our poly plane. And there you have it. Now let's see this render layer. And then we have only the floor. So this is very helpful for setting up, like in this case, I did this with, oops, they don't want to work. So I separated the reflexes, the shadows, and also the image occlusion. So I did several different layers. And also to create separate mattes. So for instance, really quickly, you want not only to get the logic layer, you want to matte for it. So you create a new layer. Again, create a collection, large GEO again. Bring in the poly surface. And then you can create a shader. You can come here. Right click and create a shader override. Let's call it matte. Sorry. So then you come here on this little checker box. And you have all these tools for Maya. So let's get a surface shader. And with a surface shader, we'll create a simple matte for us. And it will override any kind of shader we put in the mesh, but you still have it in the other layers. This is how you do it also on ambient occlusion. If you do an ambient occlusion, it will be pretty much the same. We will come here once again. Let's create a new one. Let's delete this one. Either override and come in the checker board. And come in AI ambient occlusion. And now we have this as a layer for ambient occlusion. Hope that helped. That's great. Thanks, man. Does anybody else have any other questions? All right. Well, thank you, Yuri. I really appreciate it. No problem, man. This was fantastic. Let me share my screen here. Of course. Take us home. Thank you once again, Andy. This was awesome. Hope everybody liked. Oh, of course, man. Wonderful job. Thank you. All right. Let me just let you all know about some future Logic Live events next weekend, next Sunday, I think. Let's try. There we go. We are going to do Connected Conform for Social Deliverables with Brian Bailey from Dallas, Texas. I've been working on my first Connected Conform project over the last week or so. And it has absolutely changed my life. So I'm looking forward to seeing that. June 7th, we're going to do silhouette paint with our friends at Boris FX. June 14th, Resolve for Flame Artists with David Johns. And then on June 21st, this is a new one. We're going to do Advanced Flame Techniques with Mikhan Stepanyan. And then on June 28th, no description at all. Just Joel Osis. If anybody knows Joel who's ever seen him present, rather, anything is possible. And so I'm really looking forward to that. I want to thank both of them for coming on board with Logic Live. Be sure to check out Logic.tv for all of past Logic Live episodes and a bunch of other great content. Please take a second and go to the Logic Live YouTube and subscribe. We want to try to get the subscribers up there. And of course, thank you again to our sponsor, Cinesis Oceana, Solutions Integration and Support for Digital Content Creators. Be sure to check them out at Cinesis.io, Cinesis Oceana, supporting Flame Artists since 1997. That's going to do it for this week's Logic Live. I want to thank everybody again. Thank you, Yuri. And stay safe out there, everyone. And we will see you all next week.