Comp Lair Live #14 | Guest: Stefan Susemihl, VFX Supervisor | Tech Corner: Markers and Matrices

[Music] hey everyone welcome to another episode of complair hope you guys doing all right this episode i believe 14 uh which is crazy 14 episodes already i'm flying how you doing everyone hope you're doing all right i know that uh there's people from uh i don't want to forget anyone but from thailand from brazil from bangladesh uh india so welcome everyone uh it's it's great to see wall and malaysia as well cool nice all right how you doing everyone hope you're doing fine uh here in london for the change and i said this last week as well it's like boiling hot i don't know what's going on but this is like crazy crazy hot but uh once again thank you everyone for all the messages all the uh comments and followings and all that stuff it's been really really great thank you once again uh i can thank you enough for all the support um to be honest with you i wasn't expecting um you know the success let's call it like this or the acceptance that the show um has been um has been having um i'm not a youtuber well i use i i i'm now but i uh that's not what i was doing before never thought i was uh i would be doing something like this but this is what the pandemic does to people i guess and um i'm preparing for the very very long time and i'm giving this way just now something that i believe it's going to be really special we'll see when when i'll be able to reveal that i think it's close not not yet but we'll see when i'll be able to review what i'm saying all right but yeah so once again hope everyone's doing fine uh let's start with the usual which is the updates of the world uh unfortunately we we all know about this huge explosion in beirut in lebanon so if uh if there's anyone watching the show from there whether it's live or or not not in live fashion i don't think so but if there is uh and even if there isn't um you know our hearts go goes to you guys over there hope everyone's doing fine the best of your ability of course uh crazy situation in the world overall again unfortunately that's what's happening in terms of you know pandemic here in the uk things are basically the same there's no much news i don't think uh this week so the whole lockdown um it's getting eased more and more but that's what the government says but um i don't think there's many differences yet in london at least not in london i don't think apart from the masks and all that stuff that is now mandatory and there's more people wearing masks in terms of the economy apparently there's i would say good news but i think there's a big caveat here in the uk um what i'm about to say is regarding uk that's what i mean uh it seems like in terms of gdp it seems like it's not going to be as bad as it was predicted in the beginning that's what i um saw yesterday on bbc uh but at the same still pretty bad don't get me wrong but um you know this new model shows that it's not gonna be as bad but it's gonna be a slower recovery but all of this it's if there's no second wife so i think um you know you know that caveat it's it's a big one and it seems like that's not what's going to happen unfortunately we see more and more um cases and spikes which is normal after you leave a lot lift the lock down but um yeah um we'll see uh but yeah this is the new model apparently for the uk but i think it was actually today that i read that um europe overall of course not specific countries but all the countries that in which we've seen or we are still witnessing like these big spikes in cases and that's as well um they are apparently they think that this is the beginning of of what what's called the second wife i think you know why am i to say again but uh since what i was about to say is i think it's a bit too early but what i mean by this is too early because we're not in winter yet so you know the normal flu season is not here yet i think by then that's when i think we'll see and we'll be able to take more real conclusions i i hope i'm wrong and again this is me just talking i'm not a scientist i'm not a doctor who am i to say these things i'm just saying that you know since winter and normally we see like big spiking flues and and all that stuff and colds and all that stuff there's more viruses um during the winter time that's i think when when we'll be able to to see but again why am i to say so we'll see we'll see um in the uk again uh three more countries were added to the blacklist for uh mandatory quarantine so i'm talking about belgium andorra and bahamas portugal still still there it's not going anywhere it seems uh i'm not even sure how this situation in portugal because you know after a while start count you stop counting unless there's something like really dramatic happening unfortunately that's not the case i'm not sure if my country in my country things are looking a little bit better i think it's more controlled in terms of the the spike that we we witnessed around a month ago but i'm not too sure i'm not too sure the truth is he's still on the blacklist to uh you know as soon as you arrive people from that country arrive or coming from that country arriving in london um they will have to do quarantine mandatorily he in terms of the infections on the us and that's unfortunately that's a very uh hairy situation over there it seems it seems like it's on the rise again [Music] yeah not great vfx companies i heard i think it was a couple of days ago after talking with a friend of mine that some companies actually already taking people in like as in a normal situation i think there's some measures like when they're working inside the the company but the truth is it seems like people already going inside the office not in london though but this was i believe in germany so um yeah i mean i don't know there's always mixed feelings when when things like this start happening right but the truth is there will be a point in which this will have to end that's pure and simple and i think everyone can agree with that um by saying this i'm not saying that i totally agree with this kind of situations i have my reservations as well but yeah that that's happening and that's it for the updates um again and i said this i think for the past maybe two or three weeks because here in the uk the government support has ended um there's we see more and more and this is like a trend that we still witnessing we're still witnessing especially if you look at the at linkedin for example our social media channel we will see people you know becoming available more and more posting you know the works and all that stuff um we'll see we'll see what's happening what's going to happen until the end of the year i think as soon i think we'll see what happens but i think as soon as they announce an effective the same a vaccine that is effective i think a lot of things can start to change a bit more with more confidence because at the moment that's exactly what's lacking its confidence on the future of what's going to happen and how it's going to happen and what measures can companies take in people as well on their personal lives to um you know face the future whether the future just whether it's it's just in in a month one month time or a couple months times or or you know six months time you know that's that's exactly what's like so i think with the with the you know as soon as we hear the news that there's a vaccine or multiple vaccines and they're proved to be effective i think you know the confidence around the world will start to change and i think they're going to see a major shift uh for you know the positive side as soon as that happens that's my my prediction and that's my hope as well and i hope also that the vaccine arrives sooner than later of course um take light of the technically wow what's happening here uh technical highlight of the week um i selected this week um a video uh very simple you know i think by now you probably know or are aware that i'm i'm a big fan of you know simple approaches approaches to something that looks a bit more complex independently of the technical side that that might be there or might not be there is as much but simple for me simple is good that's my motto and uh so i've selected one video from my channel that i already mentioned here which is topic rooms you know a lot of those things that they put there are very very simple but some of them are very simple and very you know cool looking and this is one of them um there's i would say a similar one that i've already highlighted here a couple of weeks or three weeks ago this one is an abstract circles and uh you do that you know by uh very simple shapes um for a result that looks or can look very complex or somewhat complex and that's it for me uh technical light uh technical highlight of the week uh how you doing everyone let's see what's happening here on the chat wow so many messages uh all right so malaysia hello everyone bangladesh as well um i'm from i'm fine complainer facebook group okay cool hello everyone hey chris you made it christopher uh charlton is uh is talking from sydney i believe uh hello chris once again hello everyone russia too wow cool nice um what happened an epidemic situation first attack entertainment first industry yes unfortunately that's that's that's what happens well it's it's well it's everywhere everywhere let's not play necessarily play the victims here again we're all in the same boat okay we're on the same boat but but um you know this the truth is this is also hard and i'm not excusing attitudes from anyone or from any industry okay but this is hard on anyone including companies and that this is the truth uh yes we can argue that if they would take certain measures that they would be differently in the past maybe they would they could face now the situation in a better shape that would also impact all of us of course but um again this is hard on everyone uh this is hard on everyone so um again you know keep positive keep your mind positive this is a great great time great time and this is the you know the most positive message that i can leave to everyone this is the best time for you to start learning things and start investing in yourself or when the time when this time is over because it will be over this will not be like this forever of course but when this is over you'll be more you'll be you know better prepared for what's coming and more in a more robust way as an artist and and as a professional overall so stay tuned um as i said i'm prepping something that i believe it's going to be very special but independently of what i'm saying i mean it's it's it's it's important that you invest in yourselves all right this is the right time there's no other time like this one fortunately speaking but you know it's important that you don't lose sight of of this moment because this is in reality this is an opportunity don't lose sight of that all right so now let's go to the tech corner um so this tech corner actually admittedly it's a bit um a bit too forced i would say because i'm i'm mixing two concepts that apparently um you know as soon as as you as you look at the title you'll see what i'm saying that apparently have nothing to do with each other but they can help each other and the main advantages advantage here is that by looking at things a little bit outside the box like like perhaps what i'm what i'm showing to you perhaps because some of you might know already this type of techniques but um you know it's it's probably not the best example all right but the core of the technique it's what it's the most important so try to extract exactly that and then we can talk a little bit after what i'm uh uh after i you know you see what i'm saying okay let's go now to the tech corner and then we're gonna have our guest and it's gonna be great so see you in two seconds [Music] okay so today we're going to talk about something that you came across all of you came across at some point in your careers or this is exactly what you do every day but this is something that can follow us independently on many years you have in your career so what we're going to talk about today is alternative ways to get rid of tracking markers like this and because these tracking markers sometimes have like very different shades in color you can sometimes extract them easily by flipping the channels or by pulling a key or something like that just to get the mat out of it maybe you can maybe this is not the ultimate example of the things that i'm trying to talk about here today but you know what i'm talking about when you have tracking markers that have like this weird mixing color that it's not easy to extract them with a normal gear so we're going to talk about alternative ways of cleaning plates with tracking markers like this and one of these ways will involve matrix multiplication via a color matrix okay so we're gonna do a quick recap on matrix multiplication i'm not gonna get into what a vector is what a matrix is it's more about just focus on the multiplication part multiplication between two matrices or a matrix and a vector which is how caller will be interpreted in this context but this will be one of the things that the technique that i'm going to show will use and that's why i want to do this recap with you so you have matrix 1 matrix 2 in this example and the result will be this and how we get this result well first of all in order for two matrices qualified to be multiplied by each other either two matrices or a matrix and a vector which can be written also in form of a matrix the number of columns of these first matrix have to match the number of rows of the second one if they don't match effectively in mathematical notation you cannot multiply them if you put this on the software maybe you'll figure out that what you mean or what you meant is the other way around but in mathematical notation you cannot do that so in this case we have one two three columns and we're going to multiply by the second metric that has one two three rows so they qualify for that so we can advance with our calculations so the way that the multiplication will happen is we're going to go on the horizontal direction on the matrix 1 multiplied by the vertical direction on matrix 2. and that result will be placed horizontally on this one here so what you're going to do is you're going to multiply 1 times 0 plus 2 times 2 already on the second term of the first column of matrix 2 plus 3 times 2 and this result will be the first term on your resulting matrix so 6 plus 4 is going to be 10 right so we've exhausted the first column in the same here we've exhausted this first column so let's jump now to the second term that is part of the second column still in the same row so we're going to maintain this row as well let's do it so 1 times 1 is 1 2 times 0 is 0 and 3 times 1 is 3. all of these combine 3 times 1 is going to be 4. so there you go you have 4. then you're going to jump to the other column but still maintaining this row okay so again one times two it's two two times one is two and three times two is six all of these combined is going to be ten and then because you already exhausted the columns in here it's time to change the row and we're going to do the same column by columns so what we're going to have is now 2 times 0 which is 0 plus 1 times 2 which is 2 plus 2 times 2 which is 4. all of this combined is going to be 6 and you're going to do the same as before until you exhausted all the other columns and rows and this will be your resulting matrix another thing important to recap i would say is the dimension of each matrix after we already know if they qualify or not for a multiplication but once we know the dimension of both matrices that you're multiplying it's possible to know exactly what would be the dimension of the result of this multiplication so in this example we have three rows times three columns right and now this one is the same so to qualify what i said is if the number of columns is the same as the number of rows on the second one they qualify for the multiplication okay otherwise they wouldn't be qualifying and the remaining numbers here once you put them together they will be the result dimension of this multiplication so the resulting is going to be another 3x3 matrix so this is very handy for example if you have matrix one if now you multiply this by matrix two okay so if you had this matrices this one would be possible why because this is a matrix two by two and this is a massive three by three so the number of columns here is not equivalent to the number of rows in here so this cannot be multiplied at all let me give you another example so if you have matrix 1 then you wanted to multiply by matrix 2 okay so this will be 3 by 3 matrix and this will be three by one so now this number is the same as this one so they qualify for this multiplication and the resulting matrix will be one that has dimensions three pi one and once a three by one is the same dimension as this guy so this is the foundation on how you multiply a matrix by a vector and this is exactly what happens with the caller matrix so i'm gonna give you a real example okay let's say that you have a matrix and then you have a vector that for example it's a color i'm going to call matrix two let's say the color yellow which is one in red one in green and zero in blue so if this is yellow what will be the result of this yellow once you multiply this let's do the multiplication let's do this like this multiply it by this like this so let's do this by hand so you get the hang of this so 2 times one plus one times one plus one times zero see two times one one times one and one times zero so we've exhausted the columns on this one otherwise we will have another column here so it's time to change the row so it's going to be 1 times 1 plus 3 times 1 plus minus 1 times 0. we don't have more columns change the row there okay so now it's going to be 2 times 1 plus 1 times one plus three times zero and this will be your resulting matrix that we already established that is going to be a three by one matrix so two times one this is gonna be two this is gonna be one and this is gonna be zero okay so two plus one plus zero this will be the equivalent of three this will be one this will be three and this will be zero so this one is going to be four this one is going to be two this is one and this is zero it's gonna be three this will be the resulting color in red green and blue okay because we can write a color as a vector like this okay let's go back to nuke and let's put this matrix on this color to see if that's the result that we have okay so let's put these numbers in so our constant will be our yellow color which will have a vector defined like this which we know that is yellow color because this will be red green and blue so 1 1 on the first two terms will give us yellow cool so now let's put the color matrix and by the way this color matrix has nothing to do with the normal matrix node here this one they operate completely different and they're not the same this matrix here we're not going to cover today but this is the convolution matrix which operates in a completely different way and achieves completely different things so it's not the same so color matrix is actually a normal matrix to do normal operations such as multiplication which is the one that we're seeing at the moment so let's put now the numbers that we've defined randomly so two one one one three so our result was three four three let's see if that's what we have three four three so now you understand how the color matrix works a lot of people don't know from my experience how this works and now you do so it's a good thing so let's now use these color matrix to do what i've laid out in the beginning and that's the actual core of what we're discussing here today so i have these plates i have two versions of this plate one denoising one with the normal noise in it and um you want to clean things always under the nice plates for obvious reasons so you're gonna put the noise back on top if that's what's needed or you're gonna deliver this if that's your role you're gonna deliver this to comp with no noise at all and then they'll put the noise back on top so let's now go through the channels and let's see what's the cleanest one by cleanest i mean where do we see last tracking markers and i can see that on the red channel which is the one that i'm at at the moment it's the one that we see last so let's see if we can make it even less visible how with the color matrix and one thing that i didn't say before is if you put the diagonal here with ones this will be called the identity matrix and this is the starting point for you not to have any type of transformations as soon as you put this one plugged in your image there's reason for that and it's very useful i'm not going to cover this at the moment because it goes outside the scope of what we're trying to achieve here so now that we know how the metrics work i will leave the calculations just for a second because i've been playing with color matches for so long now i developed like a field when i mess with these values here so the goal here is to put these tracking markers on my red channel which is the channel that i'm at even less visible you will also develop this feel after you play with this for for a while but if you go up and down with the numbers you'll get more separation or less separation in this case i want less separation on the red channel so let's see what this will give me and by the way i'm just going to apply this on the red channel that's the channel that i want to change so this matrix in here each element will be red green and blue red green and blue red red and blue that will be multiplied in the way that we just looked at before so if you go up and down with the numbers you'll see that this will change of course the channel you're in so the goal again is to have even less operation between these tracking markers there's a limit of course to what you can do we're gonna try to push that limit now that i have this what i'm gonna say is this is the cleanest one right so what i'm gonna say is all right i'm gonna put the other channels as clean as this one too so i'm gonna use a shuffle and i'm gonna say now that my green channel that before it's this i'm going to say that now this green channel will be the same as the red channel so we're going to say that the green is going to be the same as the red so we swap those channels so now if you look at here both red and green they are the same you see they're changing here but in reality they're not changing here at all one thing that i have to do is to match the luminance of the green channel as it was before so i need to go on the green channel here which was my main image and i'm gonna say that this luminous needs to match now with this new green channel of course you can have ways to do this a bit more procedurally but we're gonna do this manually for now so you get the idea of all these things work so i'm gonna put a wipe and i'll try to match them as closely as possible okay so now it's matching now i just want to apply this on the green channel so now i have my red channel here green cleaned as well and now i have to do the same for the blue because the blue will still have this marker so i'm going to use another shuffle and i said that my blue is gonna be the same as my red again red is my base and i'm gonna match luminous of this new blue channel by what it was before so i'm gonna put another gray apply it just on the blue channel and i'm gonna compare these two so they're very close but this needs to go down a bit okay something like that cool so now i have my red green and blue both of them as clean as possible so here we have it we don't see the markers anymore almost this is not the end of the story though so now what we want to do is we want to apply this result not on top of everything but just where the markers are so how can we isolate the markers well you have several ways but what i want to cover here today is the color matrix node so i'm going to open another color matrix and i'm going to try to have as much separation as possible overall so i will have an easy way to try to extract and again i developed already a certain feeling for these things so i'll try to get as many separation as possible you have to go really easy on these values by the way you see that i'm on the decimals here by playing with the values i discovered that is actually the best result so if i go on the blue channel i have total separation cool that's exactly what i want okay and by looking at the channels i can see that i have some fainted values in here so i'm just going to open a grade i'm going to try to crank those values up a bit okay so this is my mat now i want to basically apply this result that i've cleaned just on those regions so i'm going to use a key mix i forgot to just say that this pad is only valid on the blue channel okay so i'm just going to shuffle the boot channel like that and let's see all right it seems like this mat is a little bit too short so i'm going to grow it with an a-road maybe the caution filters we still have this rim with colors that they're not so pleasant so because the red channel is where everything is being referred to let's see what else we can do to clean this even further what if we put a blur so these things will be even less noticeable i want to apply the blur just on the red channel but let's see what it does so if i blur it put it blur it would be a point in which we don't distinguish this as much let's see if this is enough yeah there you go it's enough so before and after before and after so now if you look at the channels they're much cleaner still not clean 100 but they're much much cleaner so now you can apply a technique to basically even up the screen i have my own tool that i'm not going to get into how it works at the moment but this is based on the ibk stack basically it's called key body and what i can say is from this plate i want to basically create an ibk stack like i want to erode that region so i can get all the hand inside that mat and then i'm gonna patch it and now i can create an even screen so i say calculate there you go so now it's completely even and now if you flip between the channels the trackers are completely gone and this is a semi-automatic way that with some luck if the lining in the plates are similar you can get this setup to be passed on your teams and different people to get rid of it semi-automatically if you want to go and add the noise is to basically minus the denoise by the plate and then you'll be able to add this original noise back on top as a plus okay so now we have the nice back back on top so now you can compare this with what it was before and it's completely even you're not losing any detail in here you'll have all the edges and all that stuff by the way this tool also allows you to choose what's the color that you want to put in the even screen i've put this set as an automatic way as you've seen but can actually choose the color any color i want any shade that i want any value that i want it's possible even different colors i won't i can do that but this is optional the cool thing here is that you have all the channels cleaned completely from the tracking markers and the color matrix allows us to separate the colors so you can use them as mats so the explanation in the beginning was a little bit overkill but i think it's useful for you to start understanding how these things work to achieve different things and as you can see this can be used for simple things like this with a very good degree of success and now that you know how color matrices work you'll be able to out of a certain shade what would be the matrix that you would have to apply to the image in order for these trackers become blue this might be a tech challenge actually one of these days hello everyone again so this was a little bit overkill right i'm aware of that but you know i think you can you can extract uh positive and good things about it um the thing is um you know with this technique in this situation this particular situation even though as i said immediately it's a bit too forced a bit too overkill for what it is but even in this situation you know as i said by the end with some luck you will be able to pass this um to be used in other plates you know by other people of course the lighting conditions have to be really similar but even if they're not really similar you know you can adjust just portions of that setup and hopefully uh you know they will get rid of the tracking markers a little bit faster i v even though it's a bit overkill i understand but um my main reason or my main goal was for you to start understanding the caller matrix that has many many many applications and we'll cover some of them in other tech corners but this is something that it's also possible to do with something that apparently you wouldn't think of so you know again although this is a b2 force as i said i've used this technique in production uh in in movies that um you know you all know so so so yeah so it's valid it's valid all right so time for what time for our guest uh he's been waiting here for for quite a long time so this guest it's actually one of the first persons and one of the first people if not the first that uh i've met even before i i got in into the industry so it's with great pleasure that i have him uh having here and without further ado let's call our guest right now mr stefan how you doing buddy so we had we had a little bit of a technical problem uh so we couldn't we couldn't uh uh basically have stephanie with us i think he was too much hit or something so now and this is a true story i have some eyes behind my laptop it's been a long time since uh we've been with each other and uh we're not close to each other physically not not because only because of the the the pandemic but because now we live in different countries again uh so uh as i said previously stefan was one of the first people that i've met even before i joined the industry uh we started roughly at the same time or it was not exactly like that it was like that for me but not for you because you've been in this industry for a little bit longer than i uh than i uh when i joined um but things start to change for both of us me because i i started in the industry and you started the industry in london more or less at the same time and then we we kept uh contact with each other until now but you know it's one of those things life happens and uh we don't get to meet as often as we would like so i had to come up with this show for for for me to have an excuse for bring you in so thank you once again but uh so for everyone that uh of course don't know you uh do you want to present yourself a bit better to everyone yeah um definitely like a first home and i'm super happy to have be having as you're saying to be having this catch up with you finally it's been uh yeah it's been a long time and also like you you're super important person like as a part of my story like somehow like you know as you were saying like likewise yeah both regardless of like uh our background where we came from or what we were doing before uh we started this new chapter more or less at the same time back in london but so yes we're happy to catch up man great yeah cool to be on the show um no yeah so uh who is who i am um well stefan um i am a visual effects supervisor at the mill um and yeah currently as you're saying i know in london anymore we just started an office here in berlin uh germany and uh yeah super exciting times a lot of things happening in the last years uh moved here a new new office um got married um yeah congratulations on that we i just found out i just found out that very recently was just a couple of days ago and i was like what you got married cool man congratulations yeah cool i would like to go back to your because as i said also you were already in the industry not vfx necessarily speaking um but you were doing already some things already in the industry before we met yeah do you want to do you want to take us a little bit on that journey because you you're a brazilian guy we forgot to to mention that you're brazil brazilian and you came from brazil but you already had like started your career over there in brazil right yes now yeah that's right like um i think uh well visual facts it's been around 13 years more or less but i've been in this industry for for a long time like almost 20 years 20 years more or less uh but then but not as you're saying like no vision like i've been working out in advertisement for all this time yeah the reason for that for that's because in my fun my my father is a photographer so it's kind of raised into this environment inside the studio and uh from like more or less 98 99 i was already helping him a lot then when like around 18 years old like got a really good base of like uh assisting and as a still photographer assistant and so kind of started to run like into next step which is like assisting other guys but um the part of the story they somehow i'm trying to you know somehow trying to rationalize how i ended up in visual effects i think throughout throughout that like i was always really excited about how uh uh like how like back there like we were already like uh breaking down um like uh some campaigns or like trying to figure think of it as layers and like yeah like there's a bit of like a compositing right so like i was really a lot interested by that already like early in the days so like i remember uh as like uh if you're shooting like you're trying to advertise a a mobile phone and you have someone like pointing to the camera the phone like you we would like shoot it separately so you shoot the hand like uh super high definition and then you shoot the person uh with the arms uh uh doing the movement and then you put the time so then like and so i was so this is from there it started to go towers dispos manipulating pictures blah blah blah and yeah this is it like a thousand uh yeah 2007 2006 i was already like uh doing working with doing print campaigns you know putting stuff together and then i also like doing c4d but always still no moving picture but anyway um so yeah like the movie picture thing was a completely whole different world for me like i had the interest in like i was like watching making offs and things like that i was like this is super cool but like was so distant i was like this is i'll never be able to yeah but but you were building you were building the foundations anyway right uh yes it's a it's a it's a it's a jump between that and visual effects especially because you know you're dealing obviously with seal images as you just mentioned uh and from that you have to transition to something that it's uh in movement so of course the techniques are different and all that stuff but the foundations are pretty much the same probably so yeah i think your transition was uh was kind of uh not so such a difficult one i would say but you'd be the one to tell no totally i think i think you're right and i think also like somehow like let's say yeah it somehow tells us that like every anything you do in life you you you can learn from and you can use it again uh especially if you stay more or less the same area but i think i think yeah you're right i think that you don't throw like when like moving to like okay i want to learn how to work with moving pictures which was suddenly like this inside uh i had to to throw away to be honest like this career that existed and was solid for like a dream of like working and like okay this is something i've been watching this making offs and watching films it's super amazing i want to then like okay what do i do with i with my life too so then this is how like it starts this process of actually uh jumping into uh trying to so that that meant back in the days like as i was saying throw away all of this and man starting from scratch a little bit to be honest yeah but that's a good message i would say because people um especially young guys uh they might think that oh you know these guys have these opportunities because you know they were born say for example in london and they were already there and you know it's uh it's you know they had at their disposal all these this uh uh you know these amazing opportunities and yes uh in comparison to some people yes we're from europe so there's always you know that uh well you're not from europe so that doesn't count in that sense but my country is is closer uh of course in comparison to yours to london so yes we are a flight away and all that stuff but that doesn't mean anything you know and again you just proved that even though you had this career that had some similarities you wanted something different so you have to give give give all of that away to start from scratch and i think that's a very positive message and also this time that we're leaving at the moment it's also proof of that because a lot of a lot of us especially in this business because that's the way that the business is uh you know whether we agree or we would like it to be a bit different it is the type of business that we sign up for uh so you know this time this pandemic time it's actually also um a time as i've been saying from the very beginning of this show to invest in yourselves and perhaps you know start something new why not you know so if if people like you were doing that even before this is definitely a place to i'm not disencouraging or encouraging anyone to quit the industry that's what i'm saying i'm saying i'm saying that you should invest your time to build something that is going to be new for yourself yeah i mean totally if you have an interest in something here whatever it is like all right let's i know so many i remember like there's so many stories like like you you you know as so many people like so i remember like this uh this girl like she was running for a while and then she wasn't stuck into match move and like her obvious path her career path was um and to just uh jump into like from there then modeling but her dream was to be an animator and the company back in the days kept on pushing her into going uh in term in terms of pipeline to go like so it's uh more of like okay you go to do modeling and then texture and then at some point together and become a lighter but she's like no i want to be an animator there you go she had to do extra hours like at home like learn animation because she wouldn't have that opportunity yeah in the office for some reason the office wasn't recognizing that and anyway so that man like the extra push is like no this is what i want i want to then uh and then there was this moment as we were just describing it where she's like okay i need to quit and try to find and get in touch with the recruiters say i'm an animator but i want to be an inmate so so yeah and in anything like the chat you need to challenge yourself i guess yeah for sure for sure and it's something that is always going to pursue this regardless the number of years in the industry that you have because again it's the way that the industry works so you know if you if you don't if you're not happy the way that your career is moving for some reason because a lot of these things happen without you even notice that this is happening right but as soon as you notice that and if you're not happy with that direction you know it's only on you to to to be able to to make that change so and times like this obviously uh put that all of that more in perspective so yeah that's the the positive message that i wanna that i wanna take but uh after a while you decided that so you come you came to london and you and yeah you end up working in uh in in a company which is the the one that um i didn't work we didn't work with each other even though we tried to work with each other because never worked out didn't work out uh who knows life is long so might happen who knows but um you end up working you end up working for at that time the company i'm talking about this prime focus broadcast that no longer exists um it was like in the heart of so and that's when uh when we met through my wife that was also in the in the industry at that time not anymore uh and you end up winning a uh an emmy for a show that you worked on yeah that was very well not by myself not as a team as a team of course as always nobody does anything by themselves i know but i was like because like yeah visual effects is totally like a uh as i know you know that but like i like to also like say like it's super like a collective thing and back in the days we had a great time like yes monica graham razer and there was also um this guy called tom working with us yeah uh so it was a super good great time still around tom and uh also like a great opportunity really like as as you're saying like suddenly like what one of the first uh opportunities in london sorry like oh there you are like you guys just got this award and i was like okay this is going well then of course there was a quite a while without any award so as i was also like i want to point out i think i've been quite lucky in the in this journey throughout my mind the career like there's always like uh well but like i i met people that uh were so inspired so very inspiring and i also got the opportunity to work in projects that uh were also uh leveling uh up helping me to develop and like to learn new stuff and like well yeah that was how yeah this is how we met yeah that's how we met yeah but that was i was just i just wanted to to underline this luck yes it's important and it's part of the game and it has to happen um but luck is no more the way i see it is no more than an opportunity and and because it's an opportunity if you're not prepared for that you know luck can very quickly turn out into end up being bad luck actually because you know the opportunity came and and you're not prepared so luck you know it takes a lot of effort to to get that lucky start in your way uh it's not by chance that these things happen and if you're not prepared i mean the opportunity goes goes by and you don't take it but yeah so by the way the show that i'm talking about if i'm not mistaken correct me if i'm if i'm mistaken is a word world world war two for yeah yeah yeah cool so check it out because it might be available somewhere i don't know where but it might be available somewhere um yeah it was really like a great opportunity it was also like something like as we were saying about like every single moment or opportunity or like environment you you people different people you work with you get this opportunity like i i believe like always like as you do as well with a very humble like attitude like you see how people work and like and how people like they approach things and projects and like their political or like creative struggles and you learn from those experiences i don't remember that this project was also like well the curiosity side of it was very very exciting because um first off had some c4d so like i got to see like some guys uh working in c4d no not me but like they were they were doing things before that like oh my god this is amazing because i have a c for the background but would never be able to do whatever they're doing okay on the compositing side which is where i was involved with uh we were mixing different pipelines we had like a nuke we had fusion there was after effects and we were integrating all of this yeah so and the last one is like i think that then like ended up taking for life they're like what doesn't really matter the two i think that yeah it's just a tool it's exactly what it is it's a tool um i mean if you of course it helps uh if if you can work with the tool obviously for obvious reasons you have to know the tool in order for for you to be able to work with it but at the end of the day it's just a tool uh it's like it's like a spoon if you don't have a spoon and you have a fork to eat soup uh you know we think soup with a fork is not the best uh tool right but it ended up being just a toolless one right a bit of a stupid example i know but anyway um so and after that you end up you know because all this time you've been working in commercials more on commercial side of things right and then you have this opportunity in something that no longer well it still exists the broadcast but it's not uh something that is very common these days uh at least not not not in in this environment that really we're in but uh i think we could say them how similar to what tv is now yes yeah it has a dynamic of advertisement but with like the concerns and like in terms of uh sequence and look that whatever the film a feature film would have yeah it was like the mid term you know on those days uh in in the same way that if he was the meter not any longer because tv these days is pretty much the same type of quality and the same approach as a film and sometimes even more um you know up to speed than than some film projects anyway but um you've been working on on those more you know your career until that moment was more on the commercial side totally yeah and then you shift it if i'm not mistaken to film at the mpc at that time i was that i also work at mpc around that time but again we missed the opportunity we were working with each other as well as the tradition exactly it's gonna just keep happening yeah i think so i think so well let's see hopefully we're at some point uh actually maybe yeah besides like um yeah no exactly like then first off before uh uh before the film like i worked with an advertisement at mpc which is also like amazing to spend hours talking about this like super uh inspiring guy called frank lombards like that's yeah i mean i think man you should i think i told you before you should yeah because i hear this channel he's like he's amazing like i don't i that name that name doesn't ring any bells but uh i'll look i'll look it up yeah for sure yeah it's like you know like it's still nowadays like uh when i'm doing my stuff like i'm like okay well what would this guy do like we worked for such a short time relatively like for in the two projects in two projects and but still like was very intense and like uh it was really really great like as an example also from the technical side i know that this channel has some really cool technical stuff like back in the days like he would have like his own uh you know like this innovative thing that the new studio came up with like version version like in the timer he had that that in flame before that like he scripted his own thing so that to me was like oh my god this is amazing that this guy uh writing his own his own tools like in flames to be able to make it the workflow of everybody easier but then yeah you're right then it was a bit of a film uh i think that that was cool but it was enough for me to to get the taste and understand that i should uh maybe go back to commercials i think was a bit more of my so that's what that's what what what did it okay i didn't know i thought you know because i was about to ask what made you you know change from from commercials to to film apparently it was just like a change of uh environment right it was all right it was cool like everybody wanna you wanna keep going with this or let's extend whatever but i i i wasn't uh feeling that was for me was it was cool i could keep doing but i i knew what i liked so like i'm just gonna get back to what i like yeah of course yeah why not it's as valid as anything else of course yeah yeah obviously if there is nothing going on blah blah blah then yeah i'll get back to the film and i mean it's also amazing in many ways but it's i think that i i always felt more comfortable with the commercials and and then again just went back to freelancing in london really and then started to freelance and um uh and then there was this sunday like at some point there was uh this moment where i started to feel at freelance as a lead composer looking after timelines yeah which is something very like rare because like in general like uh the facilities the the companies they want to look uh really have the timeless of the jobs looked after their own stuff i mean that freelancer isn't someone that's working for the company but there is a little bit they are somehow precious about it yeah but there was suddenly like but there was back in the days this uh of course speeding up a lot the whole timeline of things there was this thing of like suddenly started to happen that will start to lead projects as a freelancer and freelance until the point that um some full-time opportunities are arrived and this is now the rest story at some point i said yes and it's been uh i don't know six years been a while yeah it's been a while i was about to ask it's been like five six years exactly yeah yeah cool all right well yeah i think it kind of somehow like in a short kind of like yeah but we went through everything and and it's actually funny because again our stories mix again because by the time you joined milk a little bit after you joined maybe a couple of years after or something a lot of um a lot of some some of my ex-colleagues uh from milk at that time end up joining you yeah and well um yeah yeah so well your dejo yeah shout out to to to neil tejo matt um yeah maybe maybe some more that i cannot think of uh maybe some people that uh went there for a while and then they they then they end up going about their lives as well but i think you know both neil uh tejoe and and matt that they're still there so guys if you're watching this uh it's time for us to catch up maybe on this channel there is no life without deja i'd say they just it's basically you guys don't show no no here in the chat but like they just is the guy responsible for the whole pipeline and workflow with the side of things and it's a amazing compositor so it's everything yeah he's a good guy he's a good guy it's been a while like i said it's been a while um by the way if people have questions i know that this is uh like a special kind of edition today because you know it was it's the second half of what what happened yesterday but uh please if you have uh questions please um write them down and then we'll we'll read them at uh at some point okay uh and so you were saying that uh you end up joining you know milk nut milk milk milk for for the past five years and you were promoted recently for vfx's superstition so congratulations on that again thank you man how was it and i was it tell tell tell the audience because uh this question sometimes uh a lot of people have this question which is like what's the main difference especially from a compositing side of things in which because we are at the end of a pipeline we touch a little bit of every single department uh and uh similar to in that sense to what the vfx supervision is all about uh it's all about not caring just about this or that department is about everything uh so tell us about the similarities and differences between these two roles that you had i think i think that also maybe that was gonna say maybe a company i think in general is more or less probably all the same i think it was a a natural it's a natural uh developmental thing somehow let's say like uh as you like as if you third let's say let's quickly somehow like your compost or you look after shots and like okay then you become a lead composer and you look after sequences and technical aspects of things i'm also like being very like superficial here yeah and then uh 2d supervisor which then like you're talking like honestly like on this process i think that like you start to more and more uh not just like work on some people nicer shots or like or like oh i don't do roto anymore depending on the company some companies are like that you might not but anyway there's all these gossips but i think that what really changes is that you really uh need to be somehow more production uh oriented yeah like your mindset what does that mean i think that like not just like looking after the creative aspects of things in terms of um how it's gonna look if it's telling the right story blah blah blah and like if your clients are happy but also uh you have a bit of a production uh mindset not in terms of costs but in terms of that also down the show and what takes to achieve what you want to achieve yeah so i think that as you grow in your in in the in this career path like more and more you have that uh that responsibility or a sense or like yeah responsibility of looking at like an edit or like a show that's coming in reading a script and you you have this x-ray when you like start to just break down everything okay this is going to be like that like this or this these are the approaches we could do and i think that then being a visual effects provider no it doesn't change that much since i think that the the thing that mostly changed is actually from being more involved earlier on on the in the project in a given project i think that yes there's also this aspect you're definitely as you mentioned like you you're responsible for looking after the whole uh how things are gonna look in the future or like how we finish in the project but also there's a huge concern early on earlier on from this uh breaking down the project and also from a creative aspect of things i think you get more involved on uh sitting with the director and uh coming up with alongside the look dev team coming up with ideas of what we're gonna do what we're not gonna do is this gonna work or not yeah it's more a partnership type of role because of course the the director if if it's a director that we're talking about you i'm talking about the the client of course and let's assume that it's a director of course what he wants from a company whether you work in commercials on a film or tv or whatever it's a partner that will help him achieve the the vision that that he has right and of course these days whether you're talking about again commercials or any other medium um i mean visual effects are a great part of of of what you know a vision on how a vision of a certain direction is possible to to be achieved and two more importantly to convey the emotion that the the director wants the audience to be to perceive so of course uh it's all about like this uh sense of partnership between you know the company that was hired to do the job and the vision that the client has for for for andy andy cup so of course there will be some clash maybe at some point that's part of the job that's part of the job but um you know because you know and again and i have this this experience before as well which is different clients there they also have different experiences um by themselves like there are more experienced directors that already worked with visual effects there are the ones that are new to the gaming visual effects but they're not new to the game in terms of uh you know say for example a tv show in general so you know it it it's like this this dance that you have to to to do with them right because again at the end of the day we all want the same thing we want to get the project to be finished in a good way that's all we want you know so yeah all right cool i have one question for you by the way but go ahead sorry no it's just gonna be i could talk forever i would just compliment it could even link to like some of the things you were saying before like all those experiences uh when you're like junior and starting i think like that at that that humble attitude or like the curious attitude uh in terms of like uh understanding what's going on like the purple thing why of things and not just like being like focus a lot let's do this and this is it that later on will help you to uh understand all of this dance as you were describing like yeah because yes it's uh the creative process is not straight line no this is the exact same and the very message of the process there's all this uh the political aspect of things who is paying what does who is paying what does uh he want to see yeah because the director is not paying for it you know and then if you need to find a compromise right and in the end like have a masterpiece creatively as well at the same time so yeah no it's a very interesting i think that those are the things that actually changed mostly like with the new the progression and then now as a visual effects supervisor you get more and more involved on those aspects of things cool all right and i have a question for you because we're talking about this uh collaboration effort between the client and and and us professionals visual effects professionals especially on the supervision at the supervision level uh and because you know as as you just really well described the creative process is is messy it's not streamlined it's not like a straight line at all um and on the technical part of things things can can get really messy as well for several reasons uh these days we we have multiple cameras being used in productions all of them with with a certain you know carrot uh to to to it and then you have to convey all of them you have to build like a masterpiece that interlink all of these things and i have a question for you which is a question that i also asked to our previous guests uh because josh sparks uh that's the guest i'm talking about uh did um some commercials work recently uh are you guys also adopting aces um in your project as well regarding this issue yeah we are we are i think you described very well we are adopting it yeah okay well it's a starting point right projects that we already implemented it but we also have so we are we are developing this is where is probably the guy we're describing earlier on um it's probably also like [Music] super evolved with this but yeah there are projects where we already tried it and like already working but also as an example the part of them running at the moment it's not so okay i think that also there's there's this aspect of things um okay i think that sometimes yeah this is the i think they're not our advantage of um we do work with standards yeah we have our status the whole pipeline they're saying like i'm probably just implementing aces but um i think that sometimes uh it's more about how it looks yeah for sure yeah it could be quite very problematic what i'm saying here this guy's crazy this is unbelievable use of exposure saying this but i think that um um you know like in the end of the day what's what's i think the concern starts with if we really want to where is that gonna be played back is it the cinema is it the tv is the in the youtube no for me for me so that starts the like uh also like there is a constraint to that so that because most of what we do goes to the tv i have a bit more flexibility on that says when i can say like it's looking amazing ah was it aces was it not oh this is actually rec 709 yeah but he looks right nobody cares about that no no no no no nobody cares about that no and that's why i'm because of course commercials unlike uh commercials unlike um other projects they have a very you know fixed kind of medium in which you know the work is going to be shown of course it's going to be shown also in theaters like uh before the movie for example starts and all that stuff but that's not the main medium right but the advan and that's why i was asking you because there are some other advantages in using aces which is you know you're not so concerned about which camera you use or what's what's the you know the range of cameras you use they're all going to go into the same unified color space yeah yeah and then you from there you can do whatever you want uh and and for me that's the main advantage that i can think on the commercials pipeline on the tv side of things or on the film side of things you not only have that but uh you can start developing the looks while you're or you're on set that look gets translated into the whole pipeline until the very end and then you have different outputs um to the mediums that that exist already but yeah also you can store things that with the technology future for future exactly so that's that's suddenly doing hdr exactly it's very close exactly hdr yeah it's very close actually so or or even different color spaces on the tv display for example like rec 2020 that it's going to be also a reality um so for me that's the main advantage on you know a traditional film pipeline and that's why i was asking you and and i also asked um our previous guest josh uh if if they were adopting and they said basically the same thing they are adopting we are adopted i think that the the you gave the the the correct answer i'm giving you more of like uh how is your daily life practically i work sometimes with stock footage you know like i have a time yeah why not yeah we all do so yeah my right the the right correct question is yes we are implementing it this is where we want to be and and at the moment most like ninety per nine percent or of is linear and everything and uh so you can also like master it in different ways but the idea is to make it easier because at the moment as you say i'm just going to repeat everything inside like so many cameras different uh looks and it's like it's going to make our life so much easier because i don't have a thing and as a visual experience or 2d supervisor lead composer it's a lot of trouble it happens all like it's just going to simplify things it happens all the time that like you have maybe led lights the clamp because maybe things are interpreted so you know what i mean that they need to be always really aware of these things like look okay maybe you need to convert this into a different color space to be able to have the whole range so ace is as you're saying it's just gonna make our life so much easier and and i think because with that we we end up saving a lot of trouble and trouble in in the work that we do means a lot of time and time means money right and because commercials is so fast-paced i could see like a really advantage on the beginning starting point which is the uh for those of you that uh don't know oasis isis so there's an initial process which is called the input device transform in which you you convert the native color spaces of uh in bit depth of the encoding of your camera to this big gigantic color space that is going to be uh you know the the common one for for every camera that comes in into a project and because they're all in the same pool of of um linearity also uh in this simple of of uh color gamut and all that stuff i would say that commercials could take a really big advantage on that because it would be common to every every single camera every single shot and you don't even have to worry about it like converting from this color space into that color space you know that's why i was asking cool all right that's good i think that yeah linear for sure like for the last six years full time full linear sometimes as i said if you work with stack stock footage then it's rec 709 but then you work around it and yeah the future man it's like just having like everything looking the same right not just not because again not being everything being linear is not enough i think as you said like if everything has the same uh uh lives in the same world yeah the linear the lineage the linear is it's one part of the equation then there's the other that's the other part of the equation which is still a lot of trouble we want to make things easier for us so yeah yeah okay cool good to know good to know by the way uh i think i mentioned last week when i was talking about josh about these things that i was writing um a somewhat big article about color science it's finished so we'll see when i can uh publish that to all of you so you can take a look uh and i'm talking about aces on this article as well we'll see when i be able to to to publish it let's see if there's any questions from our republic what's your what are you working uh right now stefan what i'm working yeah i can't say it's this bloody mda thing man it's cars it's cars it's really cool okay like yeah it's very creative like a different uh three different worlds in it and uh it's really exciting really the nice director and a really really nice team okay can you can't say more than that okay so that's the the short and the only answer that uh this viewer will uh will get today uh we have a question from um from our uh moderator sabine that is actually in the country in which you are as well not in the same city though but sabine uh is german and i worked with her uh otherwise i think it was already a couple of uh years ago it's crazy like the time of flies meant unbelievable but anyway she's asking i would like to ask you about your take on the human side of projects what what is for you the most important thing to make your team succeed good question really good question i think it's to make people involved on it i think that what i take from like my experience like i always felt so excited when i felt they made a difference but not just from like a placebo perspective what does that mean when you really care about what people think about the doing what because in the end of the day is not just it's collective in a sense of crafting it but this also collective in the sense of the creative process it benefits from all these opinions so i think the main thing i think effort on that is try to pull actually involved on it not just from like a uh as an arts but really like we are doing this together you know i think that to me is like very important not from like a psychological just perspective or just as a as joking as possible i think that really because the project does benefit from that yeah well everyone if everyone is having a good time and if everyone feels respected of course you know the benefit will will will be available for everyone not for just this or that person yes things can be confusing things can be uh you know the pressure sometimes it's too much and things you know got get forgotten sometimes really from everyone and sometimes we end up doing things that probably we we shouldn't uh as supervisors that happens sometimes but yeah as you say i totally agreed uh with what you're saying on human side of things um by the way we just mentioned germany here you just joined the german office which is a new operation for the meal right how's that going how's that going what's that sorry how is that going i was oh that's sorry that's okay that's no it's great man that's uh well it's been a year now um it's been like a good adventure like setting up everything we are and now we are 12 in the team and uh you're very a lot pretty much like exposed to other things like of the of things that happen when you're setting up an office which it can be like it's stressful from some perspectives but depends on how we you face that as we already spoke here like i think that if you take it as like a um a way of learning new things and to be aware of like how things work that's really to me like the best opportunities that ever happened really in my life so i'm i'm really embracing it and really enjoying it it's really cool man cool and the ct helps as well because it's a cool city isn't it oh come on here like i don't see myself going back i don't like london but i'm enjoying here [Laughter] cool uh guys keep throwing us questions if you have more uh questions um stefan i'm sure we will be able to and happy to take them okay so we have one more question and then we we're gonna jump to the note fight because you will agree to do that with me so we're going to have the notes right so okay yeah of course you can call that friend that you just mentioned uh one more question um so our viewer says i think his name is bow if i'm not mistaken because my screen here is a bit too small i could use some advice i'm working for a german vfx company as a compositor which only does feature tv series right now is a feature film a lot different to that uh well i can answer start answer and then you can give your input if you want um seven of course i would say about that um uh more and more they're they're basically the same uh because the quality is the required quality is basically the same they all want the film look in their projects the technology now allows them to do the that uh also the companies that were more traditionally involved in film now they all want a piece of the tv series project as well so the pipeline that they they built over the years for which was a film pipeline now can be used to uh to the benefit of you know i'm talking about more rendering times and all that stuff they can take the benefit of having something that they already built for film that are not gonna be used for tv so no much difference the main difference i would say is the timing so um i would say that tv series is much more um you know a pacey kind of uh situation uh so it's faster faster turnover uh whereas film uh and i think i've mentioned also last week uh someone asks a similar ask the similar question sometimes it's too slow in the beginning um there's too many things to account for there's so many things to do internally it's a more traditional pipeline in that sense and also projects tend more to to develop because uh you know they're bigger to start with and uh normally they involve more money and you know if you have more money um you can have the luxury of spending more time developing things until you're very very satisfied with uh with what the outcome will be but i would say that there's not many differences apart from these ones more and more is gonna be less i worked in the in tv while there was a big difference uh between these two worlds but now not so much not so much do you want to do you want to offer your take on it stephanie oh yeah i'm with you you're with me i can't i can't yeah just pop really well cool all right uh so let's do the what i just mentioned which is the note fight okay let me let me open like the like all these uh not questions but all these these things that i have in here that they are random they're gonna be random here we go okay you ready let's do it okay i'm gonna open the segment and then we're gonna do that okay okay okay cool [Music] all right ready yes let's do it okay day for night well well then for night a bit of a grade i mean yeah i think in general it's like pretty much in in in the great really um okay yeah moving on yeah uh top three integration words for you a little bit of globe uh messing with the edges a bit engraved as well great is the base of everything really cool nice answer reflections um like reflections on like uh building reflections yeah fake reflections you know well let's go for it like move on so yeah i mean you can do the whole projection of things so then you get like say have a person or a car like there's a lot of like uh instead of you can flip things with projection and then you get the correct perspective perspective of things you know because if you just flip with the transform you don't get maybe that's a better answer yeah it works fine for me um crowds grounds yeah yeah spa particles this works works really well but has some limitations that most of the times can work with particles um yeah or like you just do by hand sometimes just position yeah i mean just start duplicating duplicating things but well depends if you have time to build a particle simulation it's worth it because it's fun as well but it has some limitations as well cool all right favorite the spiller man you're gonna call me crazy i do it by eye i do it actually with heal for action and stuff all right cool that's a good one that's the first one oh everybody is like you're crazy all right cool uh another one and the last one all right yeah additive care favorite tentative care process skiing process man well when he went here like i i used a little bit of everything like mix like in terms of building the alpha you know i mixed everything mix everything up and then in terms of i had like bringing back the details it's the classic like you can use key light to them to saturate and then you fly back over and then you bring just the dark beads or then then you just bring the bright bits of the hair like details and stuff like that but man i mix everything i have a core pipe which is like like separated in alpha and rgb and then that's my main merge in no but i'm talking about it the additive part of it the idea you're talking about that as well all right cool yeah yeah we're about to say now and then in terms of bringing the details and stuff and then you can just like uh plus like the bright beads or like put your fly down on top of the plate just behind before it for your main thing you pipe in you can once multiply the background like plus the details and stuff like that oh as the eyes are not adding like details to the backplate as i understand nowadays now there's no it's blr every single pipeline there is a plugin that you can use for that that but like i'm trying to somehow break down here there's some curiosity of like oh maybe you can go out of this tools you know you can try to do yourself and it's trying to explain but man nowadays you just see pretty much there's a gizmo for that i'll be honest with you all right yeah all right how was that yeah it was cool yeah that's cool it didn't work [Applause] the matrix you were teaching the other day that was mind-blowing i was like what the is this can i swear in the show sorry yeah of course you can of course he can this is not a political correct show i don't want it to be like politically correct or anything like that uh so you can do whatever uh no i mean it was funny it didn't hurt you see it was fine man it was funny i was good man well i know like i'm definitely not like the things of commercials that they can and somehow like go more um it's you need to have like uh but you uh technically but i think you in commerce is your active aspect of things uh not saying the few miles so there's super creative things but uh yeah it's a different mentality it's a different mindset it's a much different mindset sometimes you remind me so it's very nice to go through this and talk and yeah it's cool all right cool i think you did great man uh and it didn't hurt you see it went away really quickly you can do more thank you once again man it's been a while it's been really good to have you here if people have more questions i think we have time for more one or two if not we're gonna we're gonna wrap up uh right now and uh by the way i have to say that i won't be able to do this next week so there will be a couple of weeks of interval be between this session and the next one but i'll as usual be i'll be announcing when the next one will be okay uh i don't think people have more questions i think everyone maybe maybe the majority of people are on the beach or something and i think they're doing the right thing rather than listen to us right all right yeah uh anyway please stay on um stefan so we can have the final chat and guys see you in about more or less in about two weeks okay and i'll be announcing when we're gonna have the next one see you everyone see you in two weeks [Music]

Channel: Comp Lair

Views: 696

Keywords: comp lair, the next level, nuke tips and tricks, vfx, live show, advanced compositing, advanced nuke, nuke tutorial, nuke advanced tutorial, 2d supervisor, compositing, nuke, maths, live stream, foundry, Corridor Crew, Movie VFX, hugo's desk, Allan McKay, cgmeetup, vfx guru, marvel, dneg, ilmvfx, weta digital, framestore, cinesite, milk vfx, mpc film, mpc episodic, lumapictures, pixomondo, trixter film, imageworksvfx, Rodeo FX, Digital Domain, rxpvfx, vfx geek

Id: dN1ai96x0M8

Length: 82min 46sec (4966 seconds)

Published: Wed Aug 12 2020