cmiVFX continues to rattle death blows to the stagnant high end VFX training market with yet another KICK-ASS bombshell of a video. This time we follow up with a killer sequel to our first Assimilate SCRATCH Volume 1 video by putting SCRATCH through its paces. Ever wonder if you can start in a finishing app and finish in a starting app? Well look no further! cmiVFX and Mike Burton take you through the network of post production in a complete circle of events. Learn how to process shots for CG departments as well as perform common VFX tasks such as object removal, paint restoration, grain generation, post effects and more! You don't even need to leave SCRATCH anymore with a large portion of your films shots. Let SCRATCH be the backbone of your entire pipeline by not only assembling your shows, but processing effects shots as well. When it comes to managing tons of high resolution effects shots, Mike Burton knows all the tricks to save time and money all while working in realtime with a client staring at the back of your head. Time is money, and this video will teach you how to create a virtual time machine to get your clients in and out of your office faster and with a smile on their face! Buy this video now, and start being a hero today! Short Description Michael Burton solves with SCRATCH several situations that are not usually achievable within a live session. Clean plate creation, compositing, restoration and more are offered in this excellent workshop. ASSIMILATE SCRATCH is much more than grading software.
In this chapter, we'll use the tools in Scratch along with the GenArts Sapphire plugins to add dynamic light rays to a shot from the film "BloodLine". Both traditional scaffolds and the plugin method will be explored to create the effect.
In Chapter two our challenge is to track a cell phone on a dolly shot using both manual and automatic methods. Once establishing solid tracks on our scaffolds we will key frame and pull an HSV key on the phone and adjust the color on the face of the phone.
In our first day for night shot we will look at a sequence from the film "BloodLine". In this sequence our challenge is to match inner cut shots of our main characters filmed in a pool, in the daylight which we need to match into a night exterior scene shot in a lake. We will use our primary color tools, our scopes, dual view mode and our expertise to match this challenging day for night scene.
In this chapter, we will look at the second, more challenging day for night shot. We need to relight a shot using our scaffolds, primary color tools, dual view mode, HSV keyer, stabilizer and scopes to match this shot into the scene where it was never intended to be originally.
In chapter five we will demonstrate how to cover up a small piece of beach that entered our frame. What makes this shot specifically challenging is that the beach rests next to the actresses arm. We will use our texture, tracker, and animate keyframes on our scaffold to remove the beach, replace it with a sample of the lake above it and track it seamlessly over the existing problem area all the while blending it into the scene nicely.
Ever had a boom mic pop into your shot that wasn't supposed to be there? In this chapter we will deal with just that same issue and learn how to remove it completely from the shot even with a moving camera. We'll use our Paint tools to clone out a clean plate, and re-composite that clean plate back over the top of the original hiding the boom. Then we will track and animate our scaffold to maintain the integrity of the geometry in the surrounding area we are replacing thus finishing the shot and successfully removing the boom!
In chapter seven we will continue to explore the possibilities of the Vector Paint tool within Scratch to remove unwanted scratches, dirt and dust from a 2K 35mm film scan. Using our Reveal brush and discussing the options within the Scratch Vector paint tools will give you the useful tools to feel confident removing unwanted objects and artifacts that appear on film and digital material.
Removing and adding grain to film and digital footage is a common practice that every finishing artist needs to employ on just about every project. We'll use the Neat Video Plugin to remove grain from our 35mm film scan and demonstrate two examples of adding grain to your footage using both Grain plates and GenArts Sapphire plugins.
Chapter nine is the first of the "Beauty" work lessons where you'll learn how to use common techniques for softening and beautifying your models, actresses and giving any face a "photoshopped" appearance. We'll use both methods in Scratch by using scaffolds and blur / hold out mask techniques as well as using the Neat Video plugin to give our model smoother, more youthful appearance.
(Remove the Wrinkle, Change Lip Color, Add Lip Gloss, Whiten Teeth, Smooth Imperfections)Modern digital capture cameras such as the Epic 5K camera can create extremely sharp and beautiful images that many are using on the sets of both film and still photography sets. In this less we will focus on an extreme close up of a models face where we will need to remove a large wrinkle, remove unwanted blemishes, change the lip color, and finally whiten the teeth. We will use most of the techniques learned in previous chapters to improve the shot and provide the footage for you to work along with us from this and all the chapters above.
Michael Burton is co-owner and Colorist at Pretty Moving Pictures, LLC working in the Motion picture and Television industry for over 10 years. Michael graduated film school from the Academy of Art University with a bachelor of fine arts degree in 2004 with an emphasis in editing / post-production. Shortly after Michael went on to freelance as an editor / colorist and has worked in many aspects of post-production since.
Michael's work can be seen in many genres of the business including National Commercials, Feature Films, Documentaries, Corporate, Online and more. He has worked with with companies such as Apple, Inc, Microsoft, Acura, PepsiCo, Electronic Arts, Adobe and Intel to name a few.
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Michael Burton is co-owner and Colorist at Pretty Moving Pictures, LLC working in the Motion picture and Television industry for over 10 years. Michael graduated film school from the Academy of Art University with a bachelor of fine arts degree in 2004 with an emphasis in editing / post-production. Shortly after Michael went on to freelance as an editor / colorist and has worked in many aspects of post-production since. Michael's work can be seen in many genres of the business including National Commercials, Feature Films, Documentaries, Corporate, Online and more. He has worked with with companies such as Apple, Inc, Microsoft, Acura, PepsiCo, Electronic Arts, Adobe and Intel to name a few.