 Alright guys, here we go. I think we're good now, right? This is live, this is great. Okay, we're gonna start with our slideshow with AJA. So this episode of Logic Live is brought to you by AJA. They make the best video hardware in the business and have been essential part of Flame. Thank you guys so much for working with me here. So for more information about their video prosolutions, check out AJA.com. Okay, a huge logic welcome to our newest sponsor, HotSpring. The future of VFX Outsourcing, HotSpring connects you to the great artists to get your projects done, making it easier than ever to access the best talent around the world. Check them out at thehotspring.com. Okay, Boris FX. If you're in the market for any of Boris FX plugins, please use the logic discount code and save yourself 15% at any of their products, standalone or subscription when you use the code logic-2022 at checkout. And yes, it still is 2022. Check out the Logic Merch Store. 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We've got, wow, 1.9 million in the last year. That's a lot of page views. Cool. 273 posts. 605 users on Discord. And speaking of Discord, if you haven't joined the Discord chat, please do. It's another great space to have more of the logic experience. We have real time chat, screen sharing, and it's just been a lot of fun to hang out with your other fellow flame artists. You can sign up for free at forum.logic.tv and click on the Discord link. The challenge coins have shipped. Yes, I think we're getting more in the way. They showcase the program that you know and love, as well as the community that you know and love. If you haven't gotten me yet, hang tight. They're coming. Speaking of community, the long-awaited in-person user group for Logic.tv was just a few weeks ago here in LA. It was a fantastic event. So great to see everyone in person. And here are a few pictures from the event. Got some familiar faces going on here. Got Fred Warren. And also we've got this group photo here from the event. If you'd like to have a logic group in your market, please give me a shout and we'll see what we can do. That event definitely wouldn't have been the fun event that it was if it wasn't for some of our sponsors. So a big shout out to the event sponsors who are Autodesk, AWS, Streambox, SimpleCloud, and Boris FX. And a shout out to the hosts, Illuminate Studios, and also to the teammates, and it says for putting it all together. And a big thank you to everyone. And also a shout out to Soham, who came from Mumbai. That was pretty cool. Speaking of shout outs and saying thank you, Glen Teal. If you haven't heard, Flame Artist Glen Teal has been helping us out at Logic by taking the initiative to produce the Logic Podcast. He's amazing. I've worked with him. He's fantastic. He's been doing an amazing job getting these underway. We're releasing new episodes all the time. Starting just a few days ago, legendary Flame Artist in T, talking about how he got started and a bit about his journey in all things Flame. If anyone has any suggestion for podcasts, topics, or interview subjects, shoot a message over to Glen on the forum, Glen Teal on one word. Always great to get some new fresh content in the podcast. And Logic Academy. Some very exciting stuff coming up for Logic Academy. New classes for winter 2023. We got Particle System with Cynan Viral. He breaks down Particles Plus in his new video. You guys know him very well as a second episode ever of Logic Live back in April in 2020. This is absolutely great. So go check it out and thank you, Cynan. Intro into Max Box Shaders by Graziella. An amazing live event back on January 8th about how to write your own Max Box Shader. Highly recommend, go check out that Logic Live. What is a Flame Artist? Announcing a new YouTube shorts content from Austin Campbell. He was back on Logic Live back on November 6th, so if you wanna check out that episode as well, I highly recommend it. So these will join the rest of the series, connecting in form, intro to NDI, setting up Pi Box, all this fun stuff. And Amen and Aces are all available for free at Logic.tv or on YouTube.com slash Logic.tv. And we want to thank Autodesk for sponsoring these videos. We have three more Logic Turtles coming up very soon. And speaking of Flame, because that's why we're here, Flame 2023.3 became available for download recently, so don't forget to upgrade. There's some solid new features with animation editor and bug fixes, so upgrade today. And that does it for the slides. Okay, we're back. I think we got this all figured out now. Woo, okay. So this is really cool. So welcome again. This is Logic Live number one zero four. I'm your host, Amanda Elliott. We have a great show today. We have Flame artist, Brett Kayampa. And we went through a run through the other day and there's lots of cool stuff. I don't even wanna wait any longer. So there's lots of cool stuff that he's gonna show and I'm really excited to go through this. And as always, if you have any other questions, go ahead and put them in the chat. So without further ado, Brett. Hello. Hi. Thanks for bearing with me on that one there. Yeah, I didn't know if it was because I was behind the scenes or I didn't know there was a problem. I thought it was great. It was all me. I'm like refreshing on my laptop and I was like, oh man, I don't see it, but I see it over here. I'm like, oh, well, it's live. So there you go. Anyway, how are you? How are you doing today? Good. I'm doing pretty well. I'm getting over a not enjoyable bout of COVID, which I'm still testing positive for. So if at some point in the show, I cough, excuse me, or if I just flop over that on my tablet, just feel free to just continue chatting and hanging out. That's cool. I'll just go to the end slides at that point. Okay. Yeah, exactly. No, that's great. So where are you? Where are you working? So I am in New York City and I work at Mr. Wolf, which is a visual effects house with locations in Los Angeles, Vancouver, Atlanta, and New York. And I have been at Mr. Wolf for it's like coming on seven years and that's where I started work with my dad. His name is John Kayampa, which people may know him. And yeah, we started together. And then at Mr. Wolf, like I said, I've been there around seven years. I've been doing flame around seven years and I was trained up and taught by Danny and Juri, our two of the founders who are phenomenal flame artists, Danny Yoon and Juri Nguyen. And so I was really lucky when it was, especially when it was a very tiny shop that I just got a lot of one-on-one time with people that were much, much better than me. And then I have kind of continued that. Now, I originally proposed that this be called things I have shamelessly stolen from people that are better than me. Because that's, I mean, yeah, that's, a lot of this is just stolen. And like one of the things I'm going to show today is just stolen directly from Danny Yoon. And it's just really brilliant. It's really smart. And it's a great way to think about the flame and to solve problems in just really creative ways. And so, yeah, I feel very lucky to be there. And it's a great time. And I think there's some members of the Wolf Pack in the audience. Go Wolf Pack. Oh, we don't want to do that, I don't think so. But yeah, it's starting up right here. Nice. Well, you work at a very fantastic facility. So this is going to be good. So anyway, without further ado, let's get started. We got some really cool stuff that I know you want to show. So let's get started here. Okay, so I am just going to start with something if everybody can see my flame right now. I'm just going to start with something that has several different names. So I know this as adaptive suppression. People are going to see this and immediately go, oh, that's additive keying. There's a lot of different names to it. I wanted to show this, show how I use this. This is a very over-the-top example in terms of what I'm going to be doing with this. But basically what we're looking at is just a means of suppression that allows you to take into account in your suppressed past the luminance of your background. And so it's very helpful for soft edges. It's very helpful for things that are shot on way too bright or way too dark of a green screen. It's helpful, I mean, for a myriad of problems, those little white edges that you get, black edges, whatever edge issue you have, this is basically a cheat, a hack, however you want to think about it, in terms of just throwing pixel spread in the garbage. Sometimes you might still need pixel, I'm not saying just throw it in the garbage, but I'm saying that there are a lot of problems that just through this suppressed pass you can fix. So I will show you how this works. So the first thing is I just chose a checkerboard for this demonstration and I actually have it cycled through. So it's going to animate throughout. But this is just a still frame from this tiers of steel or whatever it's called. And we have this science man, I guess, looking to the heavens and so I saw this and I carefully picked out a background and I said, okay, this perspective and lighting seems about right. And so then from there, if this were an actual composite, we were going to do back here is where your background would track in to the footage. So whatever's going to happen, you would track it in an action back here and then however you choose to put it back over top, I use it as a back in an action. So this would be your background where everything gets tracked. Then in the workflow that I had used previously, which this is a very simplified version of. So then this would just be just a one click, just a master key or suppression. This is a key, it's not very good but we're not going to worry about that and we're mainly going to worry just about around this guy and his head. And so the issue that we get trying to put this just over this generic black and white background is that obviously you spend a lot of time, you refine this key, you do whatever you need to, you could make this look nice but with what I've just done, it looks very bad in pretty much all the places that you might expect. So when his hair, which was over the brighter green screen is now over just this black tile, it just is really lifted. It's a gross thing happening when his forehead, which is now just over this very bright white. We can see like a little black edge happening, all these things. So any number of solutions, including probably just pulling a better key to begin with and you should just watch Richard Betz's logic live if you want to learn how to do that. But we can kind of cheat and fix a lot of these problems, at least fix them to an extent with a fairly simple little rig that gets built. So this is the same suppression, just the one tap master key suppression. And so we're going in here, front CC, we've suppressed it. Now what's gonna happen is I have a comp node here. This is set to difference. So right now what we're seeing is the spill map that's generated. So I've taken the unsuppressed image. I've in essence subtracted it from the suppressed image and what I end up with is this map where all around here we can see in these colorful areas that that's where the green was in the scene. So we're just generating something to tell us where the green has been removed from. It is very helpful to just build this spill map in general for comping, even if you're not gonna use this because it's great for adding reflections and things like that and figuring out where a background would reflect on somewhere else, where light is bouncing to everything like that and being able to address that using this as kind of your guide and also your map to be able to map stuff in. From there, this just goes to zero saturation. So now we're in a black and white more traditional map territory. So this is our spill map. And then what's going to happen is that I'm gonna take the background and I am gonna just, especially for this example, it doesn't always have to be this extreme, but this is a fairly extreme example. I just color correct this into basically oblivion, but what I've done is I pulled down offset and I play with gain. So again, this is this additive keying process that we're working on and an important part of this step of using this is that because this is basically subtraction, at the end, we're going to add the suppressed pass, our original suppressed pass back over top it. So because this add functioning is happening, we actually want super blacks and super whites. So we want negative values and positive values above one. If we don't have negative values above zero, especially, really nothing will change between the two. You'll get a very slight change, but when you push it into those negative values, you don't have to be scared because you're going to add things back. There's not going to be any negative things in your comp or in your edges or anything like that. So I've gone ahead and it's really color corrected this that gets multiplied then over the spill map we created. So now we have this, we have our color corrected background, our spill map that we generated, multiply the two together. We end up with this kind of fun looking image. And then at the end, we're going to just add this back. So we're adding back the original suppression that we had. So it gets added back right here. And so what we built is an additive keyer basically. And I first saw this from Jolosis and then I first saw just using it as the suppress pass from Steve Wright and then from a couple new FX PhD classes, the Victor Perez class, he shows this and then there's a guy, Tony Lyons, who shows this as well. So in some instances, you can totally use this, what you've just generated here and you can color corrected even further and further and further and get your black points where you want them and your white points where you want them and everything like that. You can use this as a comp. I don't care to do that in my own work because I find that when I have it set up this way, it's extremely flexible because the problem with this being the pump is that if something needs changed in the background or if I wanna split something in or if I wanna do anything like that, I'm sort of locked to having to use this odd methodology. And I don't mean it in a negative way, it's just a strange way of having to think about it of basically pushing this image into a place where I just looking at it I don't like the way it looks, looking at this in context, trying to figure out more and more, okay, so I need to push this even further in this direction and I need to push this even higher in this direction because of the subtract and add process. So instead, all I do is I take this and then I will use this as my suppression pass. And then I will end, but fill it back in with some of the original. So this is just taking that same bad key that I pulled, really shrinking it. And so you can think of it the same way you would think of your edge mat and your core mat and you see what you need to fill in and everything like that. Cause this is primarily for the edges. It's where the soft edges, semi-transparent edges are going to intersect with things. And then what we end up with when I go ahead and just comp this. So if we look, this was just with a master keyer messily thrown on top, but with the new suppression, which is the exact same key, we go to this. So immediately you can see there are problems that just start to get resolved simply because we're using the background to influence our semi-transparent edges. So this was our master keyer. You can see, we start to lose that black line there. You can see in this hair, that is just going to inherit the kind of semi-transparent qualities of the background. So it's not going to be lifted anymore like that. As I go through the beauty of it is that it's adaptive. So in each place where one of these checkerboards is going to pass through, you're going to get a new nice experience each time. So again, just the master keyer suppression you can see on his classes, we have this fringing that gets taken out. The luminance actually looking through the glass, I prefer more. And then again, we just get kind of nicer details that are willing to interact with this background. I think a drawback of this methodology is probably something we've all dealt with before when in actuality a defocused object over something that's very bright will be eroded and eaten away. But I've done plenty of comps where people say, well, I don't understand, why is that edge sharp now? Why is that happened now? That was defocused over the green screen. It was like, yeah, but now it's over this very bright sky. This very bright background, that's just not going to bloom out the same way anymore. It's going to cut that quite a bit. And this method of suppression actually does do that. You can see, we cut that down because it naturally wants to do that. We lose that when we're working in linear color space. Not lose, but you have that more physically accurate thing. I guess I should have added, I have only found that this works in linear color space as many mathematical operations that involve subtracting and adding do. I've never used it in log space and I always just convert things to linear if they're not linear already, but it's an important caveat. But because of that linear nature, when I pull this so much, the gain is almost 2000. When I do that, that brightness, when it's composited will eat away at those soft edges. So it's something to kind of look out for, be aware of and know that this method might not fix that. You might be back to the drawing board or something like that. But in essence, it's just another kind of tool on the drawing board. Or does that make any sense? No. Farmers, actually. Yeah. I like your pun earlier when you said inherit. So I just thought that was kind of funny. You're looking at his hair anyway. I have a quick question though. How would this work? Because he's got like a brownish hair. How would this work towards like really dark coarse hair versus very like thin blonde hair or maybe even like a salt and pepper kind of hair? Would this process still be the same? Right. So it depends. And I've used this on enough green screens to kind of develop my own ways of thinking about it. But like, it always depends on whether something will need pushed up or pushed down. So you'll see your problems in your comp and then be able to come into this color correction node and do this. So it could very well be that someone with like a blonde hair, gray hair, something like that, they might require a separate suppression from someone that has black hair or dark brown hair or something like that. But the beauty of separating it all out like this is that if I realize that it needs that, I'm able to just duplicate this whole chain of things. So I'm able to just take this, duplicate it. I'll just use a different color correction and then mat it into this action. So it's just a matter of like kind of looking at it, figuring out what the issues are, what the issues are for the individual people. Do you need to split it into different suppressions for people? Do you need to do any of that? If you do, for me in my setup, it all would just happen in this action right here and this color correct node. So all this would just be duplicated, keep connections. I would just put this here just randomly, maybe have it go back. No, I would tidy this up, but I mean it would be something where then this, I would go ahead and just mat in. Just for, let's say, this part of him and I would just soft split it in and then this color correction node, at this point, I can give him two separate still suppression passes, one on the left side of his face, one on the right side of his face. I can bind them in any way I want just to figure out in terms of what I'm looking at, what it looks like in the comp. And I mean, at the end of the day, I really use this. I'm sure people use this as some scientific, there's probably some way we can think about this. The science I know of it is that, semi-transparent edges need to inherit the background that's going behind them and not just be a semi-transparent version of themselves because that's not how light and photons necessarily work and sensors and film. Science? Science? At the end of it, it's for me, it's just really like a hack. I use it on almost everything I do now with a green screen. I just have this set up. Sometimes I don't really need to push this very far at all, if at all. Other times I really just like have to crank it. We had a whole series of driving shots and it was just fairly recently and it was the same situation of like, well, it's a nighttime driving scene. So we shot them over this just like huge, just blindingly bright green screen. And it's like, oh no, you did that. You did that. Or it's the same thing. It works great on phone screens as well for when they've shot just like an extremely blue light or something, an extremely blue screen. And then what's gonna go in there is gonna be your dark mode screen, whatever. Or vice versa, it doesn't matter. It's just about the luminance qualities of the edges. So back to the original question, you had Amanda for different hair colors. Yeah, it works fine. It's just a question of figuring out, is this gonna work across the scene or is this need isolated the same way you would with a key or the same way you would with like a traditional suppression. Oh, I see. Okay, okay. Is this kind of like your go-to anytime that you get anything that requires keying that you just throw this bash on top of there and just kind of work your way through it? Or is there anything else that you kind of start with and then you make your way to this type of batch saying like, oh, maybe I need to go this route. Well, generally I just immediately will set this up. And I almost always track my background. I very rarely track my background inside the action I'm gonna comp in. And so I already have that set up. And then this is such a quick thing for me to build or just pull out of a user bin that it just sits there. And then if I don't need it, I can always get rid of it, but most times I end up doing at least a little something with it because it can add a really nice little touch to things. And it can also fix like big old nasty problems that at the end of the day. So it can be like a sweetener or it can be like an enormous band aid. Just depends what you need in the given moment. Nice. In the chats actually Richard Butch just said the beauty of this technique is that you haven't lost any pixels to keying tolerance. You're separating the green grading and then putting them all back together. So it's awesome. Yeah. And it's, yeah. It's also, I mean, I get, I just enjoy like when I have a setup or I see a setup and all of a sudden I start seeing like the math notes cause it's, I think it's fun. And it's always the thing of like, once I started realizing that like, it's all really algebra at the end of the day. It started to make so much more sense to me. And I mean this difference, the reason I use differences is because I tried to use subtract like I had seen in Nuke. Subtract or from there, they use that. We don't have a from our subtract is there from, I think. And when I tried to use a subtract with swapped inputs don't know why this happens but if I were to change this right now to a subtract and what we're really doing in difference is a subtract. If I was to change this to a subtract and swap the inputs if I make the saturation zero, it's just, it's black and I have no idea why. So that does not work. Has to be different. But again, it's just these math operations of like you're just thinking about I'm subtracting green from no longer green and then at the end I'm adding it back over. And if I was to difference math these without anything in between they'd be identical like what Richard was saying. So yeah, it's a nice little thing. I enjoy it immensely and I encourage people to experiment with it and play with it and improve it and whatever people want to do with it. But I found it works really nicely for just a lot of stuff. It's a nice kind of tool that I just keep in my back pocket all the time. Good, yeah, Danny Union was just saying it's like a one step fill, suppress, additive key in one, right? Right, Britt? Yeah, yeah, it's all your favorite appetizers in the big appetizer sampler. And the charcuterie of nodes. Exactly, this is the charcuterie of playing, yeah. Yeah, yeah. Nice. Oh, and Andy's saying our hashtag, our subtraction is there from. So there we go. Yeah, our subtraction is there from. I feel like that should be a slogan or something if we ever need to march against the new people. We may stormtrooper our way in there. Yeah. So that's good though. I like this one. This is nice. Everyone seems to be liking it too. Well, that's good. I am terrified of you, my fellow peers, to be in a position where I'm explaining anything to anyone. But I will try my best to keep you, you know, I don't know, infotainment. That's what I'm aiming for. What you got going on here? What's this one? Okay, so this is from the aforementioned Danny Yoon. I met Danny when I was like the first time probably when I was like 12 and then my dad worked together at Ring of Fire. I knew Danny for my entire life up until, I mean, I guess, no, it continues as the wizard. That's what my dad referred to him as. And I knew of Danny the wizard since I was a tiny child. So now I work at Danny's company and I steal as much from Danny as I possibly can. So this is something that Danny came up with and built that just lives in my user bin now. And this is the wet look rig. And I'm giving one of the methods. There's really two different methods, but this is the one I utilize the most in terms of, of creating this wet look. And Danny developed it when we were working on this show, brand new cherry flavor. And there was all these things of like people, like vomiting kittens and pulling them out of orifices and stuff like that. And they had these robot kittens and they always wanted them to look wetter and slimy or and stuff like that. So Danny came up with this great technique. It's basically just like an emboss on, on, you know, on steroids. And so the way this works is that I have this plate in honor of Jolosis. I have chosen a cat. This is the most intense cat. I could find this is a big main coon staring with very jarringly human eyes. And then, so what's actually going to happen is that let's just say that somebody was like that main coons pretty cool and pretty intense, but I think it could be scarier. And someone said, okay, well, let's put lead on its mouth. And it's like, okay, well, that doesn't look real. It just looks like exactly what I did, which was just color correct. Make a mat. And this basically paste some blood on his mouth. And they're like, yeah, okay, maybe what we need is some specular highlight to make it fresh. Like it's just eating a rat or a child or whatever main coons eat. And so the way that these wet look the specular highlight things work is that the first thing is that it seems to work best in log. So this is just a Linda log that comes inside the setup. Then it's going to go into this action that you can see as I think this is what gets built when you pull up. PBR shader. And then all this stuff. Wait, I have to ask PBR like perhaps blue ribbon. Are we? Exactly. Is a happy hour already? Right. That's what I was going to say. It's 239, which means it's 539 somewhere. Perfect. Bring it on. But so you have your, you know, your various shader things that you're going to get in here when you pull up this PBR shader. And then once the media is all assigned to this, what we only really care about is this normals that are going to come out of here. So you can see that I plugged this in to this action. And then the output that I have is going to be our normals output, which is going to generate. Yes. From there, we have a color source. It's just a black color source. Same resolution as the plate. And then we are going to use what I think is the neatest thing is inside here. You have a light. And we have a reflection map, but this reflection map is actually media that's coming from a G mask tracer. So this is basically, I can kind of draw my own light sources and everything like that, move them around within here and see the results interactively in this action, and especially when I comp it. So we go from this to this, which I like exponentially more. I think it's such a nice method of generating these specular highlights, which I find always to be a very difficult, frustrating task, especially to make them look realistic, to make them break up in the right way, to make them feel right. So I can show you now. So it went from like eating a strawberry to like eating actual flesh. That's good. Yeah. Yeah, it's perfect. But I'm going to show you that if I just move these lights around, you see that, you know, because this is just still images that I'm going to show you, but the beauty of it is when things start to go in motion. So these highlights, you get nice rolling effects that feel fairly natural. I mean, remember, this is just 2D. We haven't modeled anything, haven't done any displacement maps, haven't done anything like that. It's just our substance normals that have been generated from that action. And I think, you know, you end up with something that's just, that's really nice. And especially once it starts moving, you're getting the hits on the specular highlight. You're getting them rolling across surfaces and stuff. It's, I find it very satisfying when it, when it works and it feels good. So I have another example of this where this is just this man eating meat. I found a stock image of a man eating meat. Beautiful. Yeah. And it was like made for, because I don't know. It's probably for some corporate seminar that's like, it's a dog eat dog world out there. The tank top. Sell, sell, sell. So this is using the same technique again. And again, I'm going to make the steak feel wetter. And then I'm going to add some blood splattered around his mouth and then on his teeth and gums. And so for, for that stuff, I'm just, you know, just, just building a mat for, for his mouth. I'm color correcting it again. None of this stuff you could do any of this any way you would like. And then again, we're generating these normals here. And so it's the same process inside here. We already have this built and then I have these garbage masks that I'm using to then bounce and reflect off the normals in this reflection map. And then we end up with this, which I, on its own, I always just think it's cool. And I take a minute to just enjoy this. It's like a very early 2000s music video vibe that I get a kick out of. But I've never been asked to do a shot that is this yet. I'm hoping one day that I will. And then, yeah, and then just matting things here. I'm going here. Well, now that you put that out into the universe, they're going to book you on the Justina. Yeah, I'm down. I'm ready. I've got, I've got the rig. But so this is the same, you know, situation. So this just doesn't, just doesn't look very, very real or very appealing to the scary minded people. And then we get these nice highlights, actually enjoy them, especially in his gums and his teeth. You get off the top of the lip, everything like that. And then I go down back down here. And see, just double check the context. No context. So I like how John just said, vegetarian nightmare. Sorry. True. True story. And then again, if I move these, I get, you can see them rolling across, hitting in different ways. Well, what if I bite into like a tomato that could, that could work, right? Tomato shiny. It's kind of weird. Yeah. Yeah. That's whatever the vegetarians, whether a man's eating another person, or if they're eating a tomato, whatever, you know, use this batch. Yeah, to sell shampoo these days, whatever you need. But yeah, and you can see, you know, we get this nice rolling effect. You can see it across the state. All this stuff can be like played with, tweaked for hours on end. It's just like some simple, just little things to look at. I think it's just a brilliant technique. Oh, that's cool. Hey, can you zoom in a little bit on there? Just so we can see a little bit more in the detail. Neat. Yeah. And you can just watch them roll. And then like I said, I mean, once it's in motion, like you just get this really nice, you get a really nice natural effect. Sometimes I will say that it is, it can be noisy coming out of the normal's pass. And what I'll do in that instance is I will just freeze the normals on a frame. And then use either motion vectors or planar tracking or whatever to then just track it on. Because it can get noisy in the actual, on moving footage in the actual normals pass. But you can fix it, you know, because you're just using this to kind of tell it what the textures of these things are and how you want them to refract off them. And I mean, it's never going to be totally scientifically accurate or whatever you want to look at it in, but I mean, it's just, it's a great rig. I use it all the time for this, you know, if I need a specular highlights on something or I need to make something look ooey and gross or whatever. At Mr. Wolf, we do a lot of scary, scary stuff. And that brand new cherry flavor. I don't know if anyone watched that. That's, it's really scary and it's very gross. So. What about using this technique for John's asking for like maybe a wet floor? Yeah. I mean, you could absolutely use it for like, because if you thought about like, let's, let's say like pavement, let's say wet pavement. That's a, it's a great use case for it because you would bring in your pavement plate and you'd generate these normals. And I mean, you're going to get a bunch of normals from that pavement. And I just love a very natural look in terms of like actually, you know, interacting feeling like it's sitting there on the, the very, you know, deformed and lumpy textures. So whatever it is, whatever you need to make shiny, it doesn't only have to be mouths or cats. It's not limited to that. That's just what I ended up limited by when I was making it. But yeah. Could you could you also use this for like, so Andy was just saying something when he worked on Wendy's perfect for retouching cheeseburgers. Cause yeah, I mean, yeah, that's that's also got like the glossy look to it as well. Yeah. And then also Eden is asking, do you have a sample in motion would be nice to see? So I'm not sure. I actually, I don't right now. If somebody wants to play with it, you're welcome to, but as of now, I think all of this is still framed. So yeah, I in retrospect, something in motion would would be nice because yeah, you see that you see that happening. If you, I mean, if you want to see it in, in real life, watch brand new cherry flavor last episode, it was Catherine Keener's fingers. And she was like doing all this stuff with her fingers, which is just the worst case scenario for any visual effects thing where then they're like, Oh, you need to affect the fingers. And I talked with Danny about it. He ended up coming up with this way that we did it where it was just basically color correcting those fingers as they did this, but having these normals on it, I mean, it just gave it a wet look immediately. And it was so nice when fingers would bend and curve and you would see it watch the curvature of the finger and you would see it roll over it and things like that. So yeah, it's a, I think it's really powerful. Like I said, it's one of those things that I just keep this whole compass just in my, my user, my user bin. Nice. And he's also saying it's probably work great on like lipstick shots because there are times where they're asked to make a matte lip color look shiny. So yeah, that makes sense. Yeah, totally. Totally. All right. Let's, I don't want my own. All right. I will show, I'll show a couple more things. This is much simpler. This is just something I like. I enjoy. I wanted to share with people. This is just how I use the deform node in flame for natural edges of things, especially in landscapes. So the deform node is just, if you haven't used it, it's just like a fractal. Displacing, messing up machine. Right. So you just get these fractal patterns that swirl an image around and do all those things. I did it primarily for mats where I need to like, I use it a lot on like tree lines that need replaced. And they're semi-transparent. And so they can't be rotoed or else you'd see what was behind them. So instead it's, you have to try to do that. And it's, you know, it's hard to generate a natural looking mat. And so I will use this a lot for that. So I have a couple examples. This is just like, it's hills in the yonder. And for this example, and it's just like, okay, this looks cool. But I don't like this being like this. Maybe we'll make this. So it just continues across. So making this mountaintop just continue across. There's a billion different ways you could do this and have a natural good-looking edge. But I wanted to show a little bit more of a natural looking and a good-looking edge. But I wanted to show the way that I use the deform node for mats. So I just draw a very simple mat that is just the shape that I kind of want in general. And so when I draw this mat, it's just like the biggest, broadest stroke I can take. So it's like, I know that I want it to go down and then a little up and then that's it. I add this deform node. And this first one is just, I view it as like the medium, like the kind of medium brush. So where now I'm deciding, okay, so I have this shape that I like, but I want to break it up in a natural way. So I get these nice little wavelets and things like that that come down. And then the final step of this process is then the finest brush, which then is going to simulate the various little trees you'd see peeking out in the semi-transparencies and everything like that. So the way that this node works, a lot of it is playing around with, your first deform is just playing around with the scale and the amplitude. So obviously amplitude more is going to happen or less is going to happen. And scale is going to be the scale of the fractal pattern that's generating this. And so for this one, it's like 32 and 4.7 is what I landed on. And then for this one, slightly disproportionate to kind of try to make these feel more like trees in the scales. So 9.16 versus 7.16, then this amplitude, but really it's a kind of a trial and error thing playing around with and figuring out what works best. I mean, generally the finest one is going to be the lowest scale. And then once I have that, and I did a little color correction and stuff here, I just used a color source because atmospheric haze. And so we just have this color source. Eventually we get here. That's going to go in through our mat, get grained, and then we are this. So from this, where we didn't like this dip that continued here to this. See, we have a very similar quality to this stuff back here. You have little trees and stuff, all that stuff. Just, you know, I think it, I think it works and it takes about like, you know, five minutes to set up as opposed to figuring out how do I source this edge and use this and use that. Could you use it for like leaves too? Like I understand that's like hillside and maybe those are trees and stuff, but what about like leaves? Yeah, so I did. I mean, this isn't necessarily leaves. I've used it on tree leaves before. But tree leaves are harder because I mean, they have a very uniform shape. So when I've done tree leaves, and especially I've done it because I add a little animation to them through the deform node, it's sort of time consuming because it's really then a real big question of like making that scale work and that seed work with like the leaves and the individual leaves and everything like that, because they're very, obviously like they're very defined. Like if one is just cut in half, it becomes like a notable thing. But this is leaves to an extent. This is a shrub, a leafy shrub. And I found this out of San Francisco. I'm going to guess on the internet and just, you know, it has this planter here. And it was like, okay, well, what if we tried to fill in this planter with, you know, a different plant, it feels, you know, empty up here in this hypothetical situation. So I went ahead and again, I just, so this is an extreme example. This is probably just not the right picture to use here, but I've also been in many scenarios where, you know, a client is saying, well, no, that's the picture we want. That's the bush we want. It's like, okay. Yeah. Hey, that's what they want. Yeah. So I have just drawn again, just a very simple shape of this bush. And then I take this, the form node. This is like my medium brush. So this is just how I want the bush itself to kind of protrude. And it's little clumps of leaves. And then when I get in here, this is to build out the actual little individual leaves that would be on the edge of this, through this deform node. Oh, I see. And then I do some pixel spread to make sure that the form node has not gone outside the barriers of the map because it will, but I just don't want it to show things that aren't necessarily this bush because as it goes, it'll expand. You have options to scale it on output and things like that, but I find it easiest. Most times it's not that far off and it's just pushing it out a little bit with some pixel spread. I've color corrected a little bit. This is a color source that I just quickly made a shadow out of. And then we go from, I don't want to get any better. This is just an ugly picture. I'm sorry, folks. Then we go from that to, you can see, then we have our little bush here, hangs down its little individual leaves and stuff like that. I have a question though. Would you be able to apply the wet look to this shot? Like say they wanted to make it look like they just watered the plants and everything's fresh or it was like a rainy day. Is there any way to apply that wet look to this? To those shrubs? Yeah, I mean, because it'd be the same as anything. I mean, really the only thing that the wet look is looking for is trying to generate those normals. So, I mean, if you were to do that, you know, you would feed this like this. So we could take this and get weird. I knew that. I knew that. I still knew that. All right. So, yeah, I mean, if we were to just take this and go into here, do some quick scaling. I just love being put on the spot. So, and then this would generate our normals output. And let's make a quick. So then build this so I can see it in context. And then a significant amount of playing will occur. Let's see. As context. Use. Right now. Oh, like the sprinklers just went off. Yeah, to some extent, I mean, it's, you know, it, I love the wet look rig. It always takes me a minute to, you know, set it up because it is something where like, there are a lot of moving parts to it. Like this softness of this garbage mask actually plays a fairly significant role in the softness of that reflection map. Right. So like adjusting this, you get a very different look, the wider it is or the tighter it is. Actually, can you zoom in a little bit on the, we demand a shrubbery. Yeah. I mean, so you can see it. Obviously you'd histogram or restore the dark parts. You don't want it in those shadows. But yeah, I mean, you can see just scaling it. Moving it. Nice. Yeah, it's a, yeah, it's it. I mean, I think you could probably use it to fake snow if you wanted. Like just if you needed to, just on trees and procedurally. Actually, I don't know if you'd want to do that. Like it just rained on the ground, all the pavement. On a still frame, you'd want to do it. No, because these will roll. These highlights will roll. Okay. Yeah. But yeah, it's a very nice. Good. So I was just checking out the time right now. Was there anything else that you wanted to show after this one? Yeah. You know what? I had a couple. Yeah. You sure? I think you had one that was a little bit more quicker. You want to check that one out? Yeah, let's see. All right. All right. This is, this is like a, just a beauty hack that I learned from Megan Burdick, the awesome flame artist, Megan Burdick. Oh yeah. She's amazing. It's just really a take on, on frequency separation, but it utilizes this, the flame denoise node. And the way that it works is in normal frequency separation, when you're figuring out, you know, you're high, low, mid frequencies, everything like that. It's based on how much you're blurring for the subtraction process, all these different aspects of it. This just kind of adds a tangible gestural component to this. Basically, what you're doing in this denoise node is, I'm looking at this person's face. It's a pretty extreme example to clean up. They, you know, they have this scarring and whatnot, and I, you know, trying to clean that up just individually with little tiny mats would be very time consuming. So if they have the time to do it, I mean, the way I think about beauty work is, if you have the time to make little tiny baby mats for every single thing, obviously that's the best way to do it. But like we're working on a show right now at Mr. Wolf that just has hundreds of shots of beauty work, just hundreds upon hundreds of shots of beauty work, and it's tight deadlines. And there's just no way that people could be drawing 60 little tiny mats for every shot. So this is a broad strokes methodology. It can be used equally successful with the little tiny mats, but a lot of times when I'm using this, it's just very broad strokes. So I'm just looking at this image, pulling up the denoise node, and then just selecting an area where I'm like, okay, I see skin texture there. I see poor texture there. And I'm just, you know, selecting it with my, my analyze box that comes up. And then from there, what's happening is I'm just denoising based on that. So it's almost just like depouring. So like you're looking for skin, you're looking for pores, and then you're choosing that area and you're saying that anything in that frequency range should go. Anything, not in that frequency range will stay. Then what you end up with is what you work on. So for this, I just put an incredibly intense crock beauty on it and added it in to the side of her face. We have just this kind of dull faced person right now, which sometimes people want and that's fine. But the final kind of piece, why we did this whole denoising process was to subtract that. So we're just subtracting those pores out the same way we would for like grain theft. And then at the end, adding those back on. And we start to get all these little tiny baby details back that weren't the things that we wanted to remove. And then I set this up so that I have one layer that functions as a max lighten. And then another layer that has ever so slight transparency on it that functions as a min darken. So for like, you know, super fine high end close up beauty work, everything like that. What I've just done is too broad of strokes, but for things where it's like needs to get done, it needs to look good, needs to not look like a plastic person. I love this method of doing this. And this example photo does not do justice on it. There are situations where it just does the most beautiful work you've ever seen, because even like the pimple on someone's face will have these details on it that like, once a pimple's gone, you don't know that there are pimple details anymore. It just becomes this really nice poor, poor detail and texture. So yeah, this is the denoise frequency separation trick. And yeah, it works really nice. And it's great just in terms of like a really super fast method of just like cranking stuff out that that'll that'll look good and get it over the line. So I think, yeah, I think we can probably see. Yeah, that's good. Oh, I was going to say, there's also the Delphi shader too. Does that does this kind of resemble something like that? No. No, the reason that this looks like this currently is like the idea is to, what we want to do is just blur this, use whatever we want, dull face, crock beauty, anything like that to just smooth it till we get to the point where we don't have these color differentiations because really what we're working on, it's just a very specific low pass at this point. So I'm just working on color and then for texture, all that information gets stored up here. So I've taken out the texture from the equation. So I've taken the texture that I want to add back in out from the equation. Nice. I've crafted it up here and then add it back in here. And then we get I see. Details back in her skin. So cool. This is great. This is all good. I like it. No, I'm looking at the time right now. I think we're going to have to head on over to the prizes. But if there's anything else that you would like to share, I think that maybe we should do that in the patrons chat. How about that? Yeah, sounds great. All right, cool. All right, hang off for a little bit. It was great. Thank you so much, Britt. But yeah, let's do some prizes right now. Oh, check this out. We got some prizes going on here. So the first one we're going to do, let's just spin this right here. This is for some logic merch. Let's get my music going on here. Yes. So Nick Smith, you are going to be getting a logic t-shirt. There's my music. All right. So the next one, this is for your Boris Vex. Spin the wheel. There it is. Peter. Okay, Peter. And so you're going to get the one year Boris Vex. So let's head on over to the slide show now. Thank you everybody for working with me today. I really appreciate it. And let's do upcoming logic lives. Yay. What's everyone working on? We'd love to know. January 29th, it's going to be at 2 p.m. with Andy Milkis and myself. And then we have another one going on Sunday, February 19th with Mark Laro. Going to be hosted by me. If you haven't signed up for the forum, head on over and do so at forum.logic.tv. It's daily conversations, Q and A, and just general stuff related to Flame. While you're there, click on the link to sign up for Discord where we're having more of our informal chats and hangouts. It's a great place to be. The episode of Logic Live is going to join all the other episodes of Logic Live online later today. And check it out. We're going to have a whole bunch more podcasts coming out soon. If you haven't already, you can check out the latest podcast, number 32 that I did with guest junior Flame Artist, No Pool. It's very fun to hear what the assistants and junior artists are up to these days and how they got to Flame. No, we're super awesome. I've had the pleasure of working with him last year, so he has a great story to share. You can find these on Apple Podcasts, Spotify, Stitcher, or anywhere podcasts are available. So check this out. We've passed over 1.67 thousand subscribers. Oh my gosh! This is great. Amazing. If you haven't subscribed already on the YouTube channel, please do. Thank you again to all our patrons on Patreon. If you'd like to support what we're doing at Logic, please become a patron by going over to patreon.com. Be sure to check out the merch store and as Jeff would say, swag yourself out. A big thank you to Boris FX for sponsoring Logic Live. And if you'd like to save 15% on everything they make, you can use the new code, logic-2022, discount code at checkout. And yes, it's still 2022. And AJA for sponsoring Logic Live. We've been together with Flame since 2006 and would also like to thank our friends at Hot Spring. The new sponsor of Logic Live, they're the future of VFX outsourcing, connecting you to all other artists around the world to help you get your projects done. You can find them at thehotspring.com. So thank you everybody. That's going to do it for today. A big thank you to Britt for being on the show. And we're going to head on over to the Logic patrons chat. Thank you very much to everyone, Logic community. Have a great weekend and see you next time.