Creating Wolverine Claws VFX - Behind The Scenes Tutorial

hi so this video is a vfx behind the scenes type of thing for the short film close shave directed by mahmut aka so i was doing the look dev lighting and rendering for this project i was also sort of organizing here you know who else needed to be involved and then working with the director to sort of get his vision along the way so i'm going to put timestamps in the comment as well so feel free to skip ahead because this might be a long video but i'll just go through you know how i approach things and try and give tips for you know anyone doing their own lighting at home i will say because this was very sort of quick and low budget type project um you know it was all done remote while i was doing other work and then i was just sharing files so a lot of my rendering was just done uh in the evenings just in between other jobs as well that sort of thing so overall i think my initial work was probably about two weeks and then it was kind of back and forward between comp and getting updates for animation and simulations that sort of thing anyway spoiler alert i'm gonna show you what the shot looked like in the end so maybe watch close shave it's 10 minutes so maybe watch that before this otherwise this is the shot that i worked on [Music] cool there we go so there's quite a lot of cg in there but there are also 2d effects such as the blood you know the stuff on his um his jumper as well stuff like that so yeah very cool sequence i think there is another shot with blades in as well but that has nothing to do with me so i don't know who did that um okay so firstly let's talk about the lighting because that was my main thing for this project so i was just given the raw plate so what i mean by that if you don't do vfx is just the raw footage so this is what it was like so um so i was talking to the director he contacted me contacted me and said if i could take a look at you know doing the blades effects but in order to do that what you need to do is you need to firstly model the blades texture them so put the scratches on stuff like that and then animate them to follow this actor's hands and then if you have any blood then you would need to simulate that so there was actually an initial vfx done of this which i think i've got open somewhere maybe so there was a version uh i think so this was someone else's attempt so [Music] so yeah this was the first iteration so maybe we could compare that to the other one um but yeah it was the lighting just looked pretty wrong in this first version so if you look at that um there's quite a difference between these blades the reason i can't load both in nuke is because i realized um i'm running non-commercial nuke so i can't put mp4s in the moment so anyway you can see there's quite a big difference between what we have on the left-hand screen the final and this first iteration so he sent me this and then i gave some feedback just saying well i think the lighting's wrong i'm not so sure about the look dev this this thing the shot initially i felt looked a bit like um sort of very after effects cg which you know sometimes it can look cool but it doesn't look real same as with these blood blood effects here so they come in fine as fine as you could do but what you'll notice is they're very flat it's very flat color because they're clearly taken from stock footage basically so in order to get around that i said we would need simulations so what we ended up with is we had myself doing the lighting loop dev and rendering someone else provided the blades and then we got a match match mover um who did the body tracking animation as well which is super useful and then we had a compositor as well so okay so how i did the lighting so um so just to reiterate i only had the plate to work with which was graded so this was just my approach for the amount of time and for what i had so what i did was the match mover actually gave me some base geometry as he was animating these characters because he also laid out you know stuff like this chair stuff like that so what you would want to possibly do is make a very low polygon set so you can see these very squarey shapes such as the end the end bit here and what you can see is i've actually put on images so these are ripped straight from the footage as well so once i put in these basic shapes i then went into stuff like photoshop and i started picking areas so this is the end shot so if i hide some of the cleanup so you can see this is a bit where he's just about to stab the guy through the head so i grabbed this frame i did some clean up in nuke it's not perfect clean up but this is purely just for reflections any refractions stuff like that and then i projected it so you see these these two here they are gray but if we go into the attribute editor on the right hand side you can see we have this thing called projection shader back area so this is just a surface shader which is a flat shader so similarly to these we can see these in the viewport because as it says here that's a surface shader but for this back area because it was a corner for some reason i decided to use the projection i think it's because i worked out i could line up these cubes into a very close approximation of what it was like on set and if we look at the projection shader the out color if we go here um actually let's take a look at this in the hype shade basically this is all linked to a camera let's do in and out connections projection shape projection cam back shape okay so let's take a look for that so there's a camera you'll see different cameras dotted around my scene in fact i'm selecting it now so this camera here it's not animated but what i've done is i've lined it up to project forward and what it's doing is it's projecting this back onto that geometry there so let's look through this camera so as you can see here we can actually see it's only projecting onto things that have the shader on so it can be quite useful to do this um and this geometry here like all of this stuff we don't actually want it to be seen so if we look in the arnold tab you can see it's not casting shadows and primary visibility is off so that means we would just get reflections from it pretty much and also it would appear in refractions if there were any which there are but only for the blood um so what else so i did a couple of those um so one for this back area and what the cameras do i have i think i did it for everything initially all these different sides but then i changed my mind because it didn't really make difference so on the right hand side you can see i've just used this this big polygon done the same thing except for i'm just using a surface shader so it's literally a basic surface shader and i've got the plate um just a section that had a lot of the side and then i basically just duplicated you know the um the barber chair things and then for the end piece because this is just a single corridor rather than have a flat piece at the end i thought it would make more sense for it to curve around a little bit and so i cleaned up this end bit in fact i did that in nuke it's not very good clean up so but that's it's not meant to be seen on camera so as you can see so this was the bit so this was the part of the footage where they were nearest the end of the corridor so i think i did a few of these so so what i did today was i reopened some of these old comps so i have no idea what's going on in them half the time so frame hold one one seven five so this is the frame that i picked so here and then you can see what i did i did a roto paint so i got rid of as you can see on the right hand side i just did loads of paint strokes i could have done this in photoshop like i did for the other one but for some reason i cho i i decided to choose nuke and i've merged something in here so what you can see is before so i did the roto rotoplate paint and then i think i got to a point where i decided actually i want to use this right hand side stuff on the left hand side so what i did was i copied the footage again did a frame hold cropped the bit i wanted transformed it into place merged over obviously it's not perfect but yeah i don't think i need to keep saying that um then i did some more roti paint i don't know what that did and then a bit more i did the same kind of thing got the original footage did a frame hold but on a different frame cropped it transformed merged over so not perfect but i think i just wanted to get a bit more information i was trying to do some of this stuff quick because when i was working on this other job i would do this work in the evening so there's a lot of um i just wanted to like get this rendering because the render time took ages because there's about 364 frames to render on my my little machine okay so yeah i did the cleanup stuff let's jump back in my so you can see i've done that i made these surface shaders and i kept the projection for this area it's doing the same thing so there's not particularly great difference in terms of the lighting what i primarily did i just try to match what i could see on the set and then i named them accordingly i named them related to what was in the plate because the compositor would also pick this up and then it would allow them to decipher what was actually what they were controlling in nuke so what i mean is this light here that i've got selected which is for the perfume stand in this barber shop i call it left blue light so that pretty much makes sense and then in the settings of the light in the aov light group i also called it left blue light and so that means when i render out this light sorry when i render out the blades or any other layer because i've got the light groups turned on then it means i would get a separate pass of this left blue light so i did that for each light so this left blue light here it's um i think i color picked the light from the onset stuff so you could basically see what i was doing let's take a look so initially i just went through the footage a number of times and i just worked out what okay what lights do i need so on the left hand side i knew i had these sort of um they look a bit neon because the because of the blurring but that's just the depth of field and it was a bit hazy sort of smoky in that room so i just scrolled through the footage and then tried to work out okay so i've got these lights on the top but i kind of thought do i need that that many of the top lights so i had the left-hand side stuff and what else so we had the window lights in fact you can actually see there's a lamp so i've got lamp light and for a while i did actually test turning on emission for the projections that i created but i didn't feel that was a good idea because it was less controllable but you can actually see they've got a lamp there as well so i basically made that in cg and then you could see how much lighting is coming from these as well so back in maya so you see i've got the left left blue light and then the orange lamp next one so we've got the dome okay so with the dome um this is a bit hacky what i've done so this is the only time where i'm actually using emitting light from these textures so i kind of kind of made in hdr but it's because i wasn't getting exactly the right reflections like i kept changing what the hdr was and then adding a roof i tried to recreate the ceiling all these different things but it didn't it just didn't turn out so well so in fact i ended up making what you can see here basically let's um let's just pop this into nuke so whoops that's uh so i'll explain what that is in a bit okie dokie so so this will look familiar so those clean plates that i was creating that you saw i just realized there's a bit of stretching there so i i've that looks like i did something in nuke and then didn't reformat properly anyway you can see i've tried to create a very dodgy rough 360 of the room which technically it's missing some but the back bit doesn't really matter so much so what i did i just made this as a test because i think i i just felt i wasn't getting the right result so i was kind of giving up a bit and so i did this although this is not proper hdr this is just um many images stitched together and yeah i just felt it would give me the better reflections from the ceiling because i did try to rebuild from the plate the ceiling but it just it just wasn't working so this was my solution anyway um so yeah we've got these reflections from the side so all these objects are basically on set images well from the plate and let's take a look at the lights as well so um we've got the back start light so there's another blue light okay so some of these lights are just being added for reflections based on how the blades would look end fill orange light okay so you can see i've got this light here which is the left orange so that was positioned as close to where i thought the actual lamp was and then the light coming in from the windows i had had to add another light but i noticed when i put it in the correct position you know actually from there pointing inwards um it didn't it didn't really affect cg so i actually just added a blue orange light here so i'm kind of breaking reality in that sense but not overtly and then on this right hand side um i did put in one long light for the top lights i did try putting in many in a row but i felt this was all that was needed because adding in all these different lights it did become overcast a bit um what else i've got the rim light follow so to break up the blades as well in fact i added a rim light i don't know if we can see it through the render cam so throughout this sequence if i scroll through some frames this light is actually following which is not ideal but i noticed it consistently it gave me some consistent sort of breakup in the edges throughout the sequence so i've got this this light there and i've actually got two constraints on it basically so in this video i can't really show how i did that but basically got a name constraint so i created the locator and then linked um link the light to point at that so if you look we have the constraint in there and then on top of these then i also did a point constrain for this character so what that means is that this light is following this character but then it's also aimed at his head because that's approximately where the blades are and it's just to give a rim on the edge of the blades very slightly um we have another bespoke light as well i'll play the sequence again just so i can explain this one a bit better it's glint you see both lights that's actually animated so that's added in that's a separate light on its own um so it's just this one here and it's a small disc light so let's scroll back and to get that effect what i did i think it's quite bright actually um yeah it's just a small bright light as you can see over about how many frames is that um about 60 it does a 180 pretty much so it goes around yeah so that was it so that was just an extra light and i don't know i don't think i animated it turned out to turn off but it was just used for that beginning bit so all these lights what i'm doing is i'm giving them their own aov light group and this is just control it separately so for the start the back starts blue light as well um so this actually affects the i think it's because i've got a few of these blue lights but rather than having just one big one depending where the blade the claws were they weren't always being affected by the lights as well so that's another thing another pain because we have these in here and the reason for having these match move counts in is because what i can also do is you see this so what i've also done is projected the footage back onto the characters essentially so i think i've got so what is this projection camera projection camera projection camera right okay so the i have a render camera but then i also actually see on my left hand side render camera and then parented underneath we have this child which is projection body tracks so this would be the camera which is just following the render camera as it's going along what it's doing is it's reprojecting the footage just onto these characters so let's look at this character let's see what shaders on it body tracks projection shader let's take a look at the hype shade so this would be similar to what i think i showed before so yep so we've got a camera um and we have a projection node so all we're doing is we're saying okay projection color that'll be just the footage the plate which is an animated sequence so we we also need to i think you need to turn on animated sequence oh yeah you see in the hypershade you don't always get all the settings but you see it says use image sequence so what we've got just to reiterate camera ai projection nodes here we say okay use this footage and then link this camera and then from here then you need to put the ai projection node into a shader so i use the surface shader just flat colors just the same color of the plate so the result is basically this that's what the render would look like if the characters were all visible so it looks very weird like some sort of serious sam video game enemy something like that but that means that you see on the blades all these reflections here is actually color information coming from the actual actors so it gives that extra edge of realism as well so what else i think that was for lighting that's pretty much it so i added i just tried to work out exactly what what was there and then um once i put the lights in where i thought they were and then put in my reflection stuff then i added in extra ones like some of these extra back start blue lights you know just shaping the lights to get to what we had and then the very last one that i added was this clint one because that is very uh that's very specific um so yeah there's a bit of back and forward for the look development someone in the comments of the close shave film on youtube said about the animated blood as well so i can tell you how i did that so these blades do have animated blood but that's not a simulation magic and the animated blood was actually affecting me the whole way through but you would never see it well it's everything's just so fast that you only see at the beginning so just there so the way in which i did this i'm sure in a hollywood budget proper budget film they would uh do fx simulations but effort you know rendering this took a long time um so for me personally um okay so the shader for the blades what i did was so i think earlier i said i was given the blades as a model the only thing i did to the blades i think was change some of the uvs and um i think i changed the textures a bit and then i did the look development so this is a shader so what's going on here is we've got the blade shader as as it's named and then we've got some standard look dev stuff going on so we have if you're not sure what's going on with this so we've got the metal metallic map so it's just saying how metal you know how shiny it should be pretty much normal map so this is any sort of scratches indentations in the blades then the rough and then i'm um i'm controlling the strength of that here then we have the roughness map so it's just saying like where it should be dull and where it should not um should not be and then from there so basically my alterations to the base textures with these these knows i'm basically color correcting what the person in the chain did okay so after that then i created a blood shader so it's pretty much just subsurface scattering and these settings like scale they'll depend on the actual scale of your scene so the our scene is pretty much world scale as well as the blades i forgot how long the blades were but uh we did actually have to scale them up the original person in that model that made them quite small um so from there there was a normal map there's a procedural texture so it's just a tiny repeated texture of some sort of noise going into the blood so it's a very generic shader and what's happening is the blades are being put into a layered shader so for the blades they go into shader one and then the blood goes on top and then we have this thing called a mix weight and here is what makes the drippy effect so you can see i've got this color correct going in there so i did extra adjustments but this here is actually just an animated sequence of dripping fluid so that is basically what's in there and you'll see there's another bits there's some stuff going on up here so i did some other color correction adjustments and then created the displacement shader and then put that into the blades so what's happening is all together we have the metallic blades with all the scratches and then we are applying blood over the top but we are mixing so we're basically applying a cookie cutter and we're saying okay we want the blood but we only want it visible for these bits and then the bit this this mix is basically blood dripping or water it's actually water um and then we're just yeah applying it in the same way through the displacement with the applying it as a displacement basically anything that's white just think think of it in this way anything that is white is kind of on and anything that's black is off so same kind of rule applies for this sort of thing so i must have been adjusting the look of the texture a bit more to soften the effect because looking at the scale of the displacement is quite low but yeah basically doing all that gives us gives us that look it's pretty cool i thought i can actually show you a bit more of how i did that so if you're not familiar with 3d obviously throughout this whole video you probably have to just um bear with it but these are the uvs of the of the blades um i think one of them was mesh moved for so i don't know why so these these other ones get smoothed in the render anyway these are the coordinates the flattened version of the 3d blades so what i did was i got some stock footage of water dripping and i cut it together and i in premiere i basically put it into different i chopped it into different sections and then exported it as an image sequence so i had this and what did i do after that then i reformatted it into a 1k square so the resolution is not that big but it's just a really long sequence it's about [Music] 370 frames so it's quite long um let's take a look i'm trying to remember what i was doing transform color correct okay so i made it stronger so that would make sure that the mask was more prominent so this would work it went away and then i did merge something over what is that the thing is i did this ages ago so i don't even know what i was doing i just found this old nuke file and i've just merged on top the uv just so you can get the gist of what's going on so if i play this now so these are the tops of the blades and you can see how the water drips down cool you see on the bottom it drips up and that's purely because for some reason these uvs were flipped the other way around later down the sequence something else that i had to do which is not even noticeable in the final thing so i had to flip the sequence later in the sequence sorry later in the film because the guy that gets stabbed in the head at the end the blades get pulled out the other way rather than the blades coming out of the hands they're like going into someone's head and then being pulled out so just in case they were seen for longer i thought having the blood run down the blades would make more sense but in the final thing you will see that yeah they're already so from there that's where my blade my blood sequence would be going the other way but you'll see in i think in previous versions when this was being made um the blades were still visible later on i wasn't sure so if the blades were visible there there would still be blood dripping in the correct direction basically but i suppose it doesn't really matter okay so with all these lights and light groups um this is similar to how i would have been doing slap comps or alterations this is a similar process that you would do in bigger companies but this is obviously just on a small scale i did do a similar version in my tutorial called lighting for vfx part two i think it's part two um i probably went overkill because i did like groups for every pass and if you don't have some sort of uh script to reload nodes and stuff then it's it's probably not even worth it it's just a bit overkill anyway so you've in if you want to do this on your own project so you create the lights on my left i think as i said before i renamed the lights to be relevant so the compositor that i was just sending these two across the internet he would get some sort of gist of what what these were so with each light i just make sure there is a aov light group um so yeah i would just add that and my blades are on the master layer so am i on the master layer now let's just check yeah so yeah basically you've done that and then when you render it you'll get something like to have the render window open i'll just show you a new anyway the the end result you'll get a bunch of renders like this so this is a layer contact sheet node so this will just display all my renders that are inside this exr file so this is probably what the compositor would look at it's super lagging so i don't think my computer likes recording and doing this at the same time okay so in here we can see a few a few things going on we've got rgba that's the initial render and then we have all these various other ones i think this one's actually broken there's the pref custom uh then all these ones that start with rgba these are actually the light groups separate lights so the rgba so the beauty is basically all these different lights built together so what that means is what we can do is we can essentially rebuild that and the purpose of that is because then we could basically alter the exposures of lights without having to re-render so you could do this at the end of your i don't know when you've done a final render and you've got no more time then the compositors can just do their own thing with this but also in larger companies if you're working as a lighting td or something like that then you would you would probably be doing this on your own anyway like that some of these places have um templates and what's what's happening here is we've got this beauty so there's the blade i have a reformat the reason for that is because of overscan so if we look at this plate here resolution this is half the original rares the original res was around 4k this was shot on an alexa dragon i think no red red dragon i have no idea i just worked it out from searching the plate size so all i was given was the plate and i managed to work out the camera um so my renders were done at half res so same res is that but with 33 over scan so what that means is let's take a look with the transform okay so i'll re-enable the transform but what you'll see is i've got these dotted lines out there so what i've done is i've resized it to i'm telling you it should be this resolution but when i turn on the transform you'll notice that i could still shift it about so it means that in maya or if there was cg in these areas which sometimes there is it means it's still going to render it even though it's not visible at all times in this comp so if the compositor decided oh actually i need to keyframe that down a bit that would be fine like if these were rendered outside or if they need to add distortion you know stuff like that i do have a video on overscan overscan for vfx um in maya anyway let's disable that transform okay so what's going on here all these shuffles are different lights so one by one i'm going to get rid of some of these menus they're quite annoying let's just check that this is working the thing is there are so many lights in this shot that they won't always be visible all the time as you can see when i go through some of them different things there's um some of them have light some do not and with each exposure node after if you change adjust in to stops it means if i want i can rather than going straight back into maya so the idea is that in some of the bigger places what you would do is you would do your lighting go to dailies get some feedback and sometimes you won't don't necessarily need to re-render because it can be very you know to keep re-rendering everything all the time can just be a waste of time and money and all that sort of thing so you just change the exposure as long as you've got it set up so it should be a case of you can just adjust your light in here say if the if your supervisor says oh i need you know the lights on the left hand side brought up a stop or two then you can literally just come in to nuke change the stops to like three okay so i've just brought up my if i go back to the shuffle node left blue light okay so i've brought that out by three stops and then i can just essentially go to the end of my comp and then re-render that basically i think i just screwed up this comp that's that's the gist of it essentially and the compositor at the end of the day they can also do this but you know it's convenient for you as a cg artist to just do it in comp and then you can literally just pretty much copy your uh exposure changes back into maya or katana like some of these places use katana with nuke rather than maya as well so i think this is how i was doing some of my own changes from what i remember but this is a way to do it so you could do that for the blood as well i rendered the blood separately so i could do the same same thing maybe i should just put as an example i'll just plug in this is i know this is blood here let's take a look the thing is this blood render is black for most of this sequence so i can't actually remember exactly where where it appears just quite a pain okay i think it's i found it okay so for example you see the blood there and uh that reminds me it'd be good to have a comparison of the uh original blood that was created versus this but anyway so using the same principle what we could do is we could shuffle out each light and then these mergers below they're just plusing so they're adding on top of each other basically and then they can be controlled separately let's take a look at this one what is this this is left blue light that's how that looks and then orange lamp let's see how that looks so you know if i wanted to make some adjustments but it would be faster to do it this way rather than just going back into meyer and spending a few hours just turning things up and down and then hitting re-render you know so this improves the speed at which you can work as well because then once they're all plus together you can look at it again like that and be like okay we are having some edge issues so that should get rid of them okay so yeah if i know now in this exposure node i'm controlling the left orange lamp so if i wanted that really bright then i could put it to five and that should be an approximation of what or yeah that will be an approximation of what i'll get in maya because it's set up in the right sort of way so yeah we could do this for all rcg um what else i created that id for the um cg characters i don't think that was useful to the compositor because it's a bit rubbish but for me i was using it as a mask essentially just some very loose roto basically so that's just for the main character guy i created ids for the blood because there's a few points where they come out at the same time like that so it meant if the composite did some color changes he can actually select the color channel and be like um just use it as a as a mask so you can just basically tell nuke oh i want to color correct this this blue um blood and then you can just control them separately so this whole lighting thing here essentially hit the compositor would be able to pick like if they wanted to control these lights separately but just for this blood splat they could technically do that so that's another use for that so there's this you know doing the stuff like lighting and looked over it's just about giving control to the next person in the line so you make it look as near to the plate as possible you know preferably you do it with an ungraded plate as well and then everything gets a lot applied you know when all the vfx is done so the vfx if you're working on some projects should be fairly sort of dull like the plates are normally grayish and then it gets you know they make it look sexy late down the line okay so yeah that was pretty much the lighting setup i think i think that's pretty much most of what i was doing on this project um what else render settings i can show you the different layers that i had i i showed you a couple in nuke which one here let's take a look so i had the hero character id that's just the white black and white version of the character i put these on all separate render layers so you can see this is just a surface shader so he just renders out flat white this was mainly for myself um left blades rgb actually i think i saved snapshots for some of these so that rgb is just for controlling each separate finger of each separate blade same on the right hand side that was rendered separately as well and then i've got an id for the blood so that blood sequence in nuke this is what it looks like just on its own so that meant that if the positive wanted to grade or do anything else to the blood they had some controllability i did actually have a shadow pass for the uh for the blades um it looks weird looking at it like this because you would only view the alpha so i'd have to re-render that to show you but it's basically shadowing of blades onto a surface so it's meant these these curve shapes are basically placeholders for knuckles and it allowed the comp guy to extract the shadows so this is the render of the blades blade beauty and then the blood blood beauty all the blood all the different alembic simulations that i got they were rendered on the same sequence and then separated through those ids although sometimes the ids aren't necessary it just depends like what was done to them in nuke and all these renders had had pretty much the same passes depending on what it was the id passes had no aovs and the blood and stuff like that where's the blood blades blood too many blood layers um yeah they had all these pretty standard layers this p1 i think the position uh that's broken for some reason something to do with geometry that's why i made the custom p-ref pass that i was looking for um when rendering the blood there was i do remember there was an issue from houdini the velocity wasn't um being added in i forgot the solution to that if i remember it then i'll put it as a comment in this video but it's probably not relevant to anyone watching this but that was something that was coming up um if you're rendering stuff like that yourself you need to turn on defamation i put up the keys a bit the the more keyframes for motion blur technically the more accurate the result should be as well um yeah pretty fairly high camera aa samples as well what else i think that's pretty much it so yeah i was just rendering that half res of the play but then with overscan as well so my renders were two five two two by two one zero one as well so yeah that was pretty much it um the project took initial work for a couple weeks and then yeah just a bit of back and forward but yeah this is um this isn't exactly how you do it in a proper company or anything but this is sort of somewhere in the middle so it's not complete it's not like a hobbyist method but it's also not you know uber star wars you know how they would do it because they would probably have 3d set scans they would have hdrs they would probably have the proper uh the like set surveys stuff like that probably onset reference so they would probably in fact create the entire environment and then do something next level to what i've created by the end of the day i do feel like the result was pretty good with what we got especially in comparison to the first version as well so yeah i hope you guys enjoyed that and found it useful it was a fun little project to work on and yeah if you want to learn more about maya and vfx i would say subscribe to the channel and check out some of my other stuff cheers [Music]

Channel: Raycast

Views: 1,294

Rating: 5 out of 5

Keywords: tutorial, animation, 3d, vfx, visual, effects, learning, substance, painter, maya, nuke, film, tv, painting, keyframe, raycast, fx, greenscreen, comp, render, arnold, autodesk, modeling, modelling, texturing, sculpt, sculpting, rendering, compositing, cgi, commercials, 3danimation, uv, unwrapping, boolean, bevel, gobo, edge, loop, extrude, effect, texture, games, graphics, making, motion, pftrack, 3de, equalizer, 2020, training, flipped, normals, pluralsight, digital, tutors, gnomon, legacy, camera, c4d, corridor, wolverine, marvel, logan, blades, claws

Id: qPJxxYQxvL8

Length: 49min 52sec (2992 seconds)

Published: Sun Dec 06 2020