FXPHD – FLM213 Flame for Nuke artists

这门由 Sam Edwards 教授的 12 部分课程旨在让 Nuke 合成器快速掌握 Flame。许多课程将涵盖在以前的 fxphd Nuke 课程中创建的镜头，以便学生可以参考以前的课程进行比较。该课程对比了 Nuke 与 Flame 的工作流程，并讨论了合成的基本原理以及 Flame 如何处理它们。您将看到与 Nuke 中的工具等效的工具，但要特别注意 Flame 中的独特工具。

课程涵盖三个镜头。第一个是简单的哑光绘画镜头，涵盖 2D 跟踪、旋转和键控。第二个是更高级的哑光绘画镜头，涵盖了整个 3D 环境的创建。拍摄任务包括从 Nuke 文件中获取 3D 跟踪相机、构建几何图形、应用纹理以及从全景照片创建哑光绘画背景。还讨论了照明和渲染通道。

第三个镜头使用 CG 渲染，着眼于将多通道 EXR 带入 Flame。其中包括将球形贴图投影到 3D 几何体上，为 CG 创建动画纹理。每个镜头都展示了一种略有不同的技术，用于从绿屏镜头中创建最佳遮罩和抑制。

Edwards 于 1992 年在纽约市交付第二个 Discreet Logic 系统时开始使用火焰。在那里，他从事电视广告、音乐视频和故事片工作了八年。2000 年，Edwards 搬到了西海岸，在那里他在 Digital Domain 找到了一份工作，在那里他被分配到 Nuke 开发团队担任测试合成员并帮助编写内部文档。他曾在 ILM 和其他顶级工作室的许多大型 VFX 电影中使用 Nuke 和 Flame 进行合成。如今，Sam 是一名视觉特效总监，偶尔担任电视节目、故事片的合成师，并在 fxphd 任教。

要继续学习本课程，会员可以安装 30 天试用版 Flame（适用于 OSX），可从 Autodesk 网站免费获取。

课程纲要

CLASS 1
Nuke 基本火焰用法。火焰布局的一般介绍，显示控件的位置。解释批处理和 BFX 之间的区别，并涵盖 I/O 和一些色彩科学。
CLASS 2
课程从 NUK309 店里两个女孩的基本哑光绘画开始。该课程涵盖颜色管理节点预设、Action 内部的第一次查看、2D 跟踪、上下文与查看器节点、散焦、关键帧、Regrain、查看器控件和比较缓冲区。
CLASS 3
哑光绘画拍摄完成。该课程涵盖了主键控器的更高级控制，将遮罩与抑制分离，以及组合不同版本的抑制。核心遮罩也使用 3D 键控器创建，最后通过在我们的前景和轨迹标记移除上进行光包裹。
CLASS 4
本课程包括对迭代的回顾，然后开始从 NUK309 拍摄的高级 3D 哑光绘画。课程主题包括收获 Nuke 资产、如何将相机和定位器导入火焰/动作，以及为背景内部动作设置圆柱体。
CLASS 5
继续高级 3D 哑光绘画拍摄。任务包括布置栏杆和地面以及引入纹理。还涵盖了动作输出，以及与动作输出通道的匹配。
CLASS 6
继续高级 3D 哑光绘画拍摄。本课程学习动作中的光照和阴影、阴影和光泽度以及环境光遮蔽。还涵盖了 3D 模糊、散焦以及使用 BFX 作为预渲染的介绍。
CLASS 7
继续高级 3D 哑光绘画拍摄。跟踪摄像机用于在动作中创建 roto，以及查看 roto 的 2D 跟踪以用于移动摄像机镜头。
CLASS 8
继续高级 3D 哑光绘画拍摄。本课程涵盖 Action G-Mask 和创建背景反射。我们看到了 10 位渲染如何钳制以及如何将渲染节点设置为 16 位。此外，3D Keyer 用于核心遮罩，Paint 节点用于标记移除。
CLASS 9
完成高级 3D 哑光绘画拍摄。如何通过与以前的版本进行交互比较来修复组合。如何组合我们密钥的各种版本。看看键控器如何在不同的色彩空间中工作，收紧 roto，创建光环绕，并添加机架焦点。
CLASS 10
开始 CG 合成镜头。印版的色彩管理。在 Action 中添加 CG 几何体并将球形全景投影到其上，使用 Map Convert 获取投影所需的纹理，并查看精确的颜色匹配。
第 11 课
CG合成拍摄。使用 Compass、添加点和带有隐藏输入的 Mux 节点查看镜头组织和批处理树。主题还包括引入多通道 EXR 文件、flame Comp 节点如何处理乘法、使用深度探索 3D 模糊以及链接节点。
CLASS 12
CG 合成镜头。最后看一下为镜头合成的绿屏。主题还包括查看其他键控，使用单声道节点创建我们的遮罩，以及查看 Pixel Spread 节点。

12 Classes Project Files Included MP4

Title: FXPHD – FLM213 Flame for Nuke artists

Info:
This 12-part course, taught by Sam Edwards, is designed to get Nuke compositors up to speed on Flame. Many of the lessons will cover shots created in previous fxphd Nuke courses so that students can refer back to the previous course to compare. The course contrasts Nuke vs Flame workflows and discusses the underlying principals of compositing and how Flame handles them. You’ll be shown tools equivalent tools to those in Nuke, but special attention is paid to the unique tools in Flame.

The class covers three shots. The first is a simple matte painting shot that covers 2D tracking, roto and keying. The second is a much more advanced matte painting shot that covers the creation of the entire 3D environment. The shot tasks include harvesting a 3D tracked camera from a Nuke file, building geometry, applying textures, and creating a matte painting background from a panoramic photo. Lighting and render passes are also discussed.

The third shot uses CG renders, staring with a look at bringing multichannel EXR’s into Flame. The includes a projection of a spherical map onto 3D geometry creating animated textures for the CG. Each shot shows a slightly different technique for creating the best mattes and suppression from the green screen footage.

Edwards started using flame in 1992 when he took delivery of the second Discreet Logic system in New York City. There he worked on TV commercials, music videos, and feature films for eight years. In 2000, Edwards moved to the West Coast where he took a job at Digital Domain, where he was assigned to the Nuke development team as a test compositor and helped write the in house documentation. He has composited in Nuke and Flame on many large VFX films at ILM and other top studios. Today Sam is a VFX Supervisor and occasional compositor on television programs, feature films, and teaches at fxphd.

To follow along with the course, members can install a 30-day trial version of Flame (for OSX), available for free from the Autodesk web site.
course syllabus

CLASS 1
Basic Flame usage for Nuke users. General introduction to flame layout, showing where the controls are. Explain the difference between batch and BFX as well as cover I/O and a bit of color science.
CLASS 2
The course starts with basic matte painting shot of the two girls in the store from NUK309. The class covers color management node presets, a first look inside Action, 2D tracking, contexts vs the viewer node, Defocus, keyframing, Regrain, viewer controls, and the compare buffer.
CLASS 3
The matte painting shot is completed. The class covers more advanced controls of the master keyer, separating the matte from the suppression, and combining different versions of suppression. A core matte is also created with the 3D keyer, and ends by making a light wrap onto our foreground and track marker removal.
CLASS 4
This class includes a review of Iterations and then begins an advanced 3D matte painting shot from NUK309. Class topics include harvesting Nuke assets, how to import camera and locators into flame/action, and setting up a cylinder for background inside action.
CLASS 5
Continuing the advanced 3D matte painting shot. Tasks include laying out railings and ground as well as introducing texturing. Action outputs, and comping with action output passes are also covered.
CLASS 6
Continuing the advanced 3D matte painting shot. This class picks up on lighting and shading, shadows and shininess, and ambient occlusion within Action. Also covers 3D blur, defocus, and a look at using BFX as pre-render.
CLASS 7
Continuing the advanced 3D matte painting shot. The tracked camera is leveraged to create roto in Action, plus a look at 2D tracking of roto for a moving camera shot.
CLASS 8
Continuing the advanced 3D matte painting shot. This class covers Action G-Mask and creating a reflection of the backdrop. We see how 10 bit rendering clamps and how to set your render node to 16 bit. Also, the 3D Keyer is used for a core matte and the Paint node for marker removal.
CLASS 9
Completing the advanced 3D matte painting shot. How to fix up a comp by interactively comparing it to the previous version. How to combine various versions of our key. A look how the keyers work in different color spaces, tightening up the roto, creating a light wrap ,and adding a rack focus.
CLASS 10
Beginning the CG Compositing shot. Color management for plates. Adding CG geometry and projecting a spherical panorama onto it in Action, using a Map Convert to get the textures needed for projection, and a look at precision color matching.
CLASS 11
CG Compositing shot. A look at shot organization and the batch tree using Compass, adding points, and Mux nodes with hidden inputs. Topics also include bringing in multi-channel EXR files, how the flame Comp node handles multiplication, exploring 3D Blur using depth, and linking nodes.
CLASS 12
CG Compositing shot. A last look at green screen compositing for the shot. Topics also include a look at additional keyers, using the mono node for creating our mattes, and a look at the Pixel Spread node.