shake one-on-one training
a senior compositor with literally hundreds of visual effects shots
films and broadcast
I have also done a great deal of training
for VFX facilities, classes, and workshops around the world. I am now
offering a personal
workshop for digital artists that would like to take advantage of
those years of production experience to advance their own careers
in visual effects compositing. This workshop will equip you with
the core competencies for professional visual effects compositing – bluescreen
compositing, compositing cgi, photorealistic composites, and rotoscoping.
Future workshops will offer training on even more topics.
the workshop is conducted with Shake 4.1, the training emphasis
is on technique,
which is NOT found
in any manual. Expert technique is only gained after years of production
experience on hundreds of shots. Once
you demonstrate a command of Shake, a premier node-based compositor,
any employer will accept that you can master their node-based compositor,
even if it is not Shake. This is not true if your experience is only
with a layer-based compositor, such as Adobe After Effects.
The main feature of this workshop is the one-on-one personal
tutoring you get in addition to QuickTime movie tutorials, prepared
Shake scripts, and project media. After you turn in each assignment
we get together on Skype (voice over Internet) to discuss your
work, answer any questions, make suggestions, and offer tips -
all specific to your needs. It’s like having a senior VFX
compositing instructor at your side.
How It Works
The workshop is designed as an eight week course. Of course,
you may go at your own pace. If you want to complete all eight
weeks in eight days, so be it. You download each week’s videos, prepared
Shake scripts and project media, then go through them at your own
pace. They are designed so that you can “play along” with
Shake on your own workstation. After viewing the week’s video
tutorials there is an “assignment” video that briefs
you on the week’s training exercises where you apply what you
have learned to the project media that is provided. You then upload
your assignment Shake script to my website and we review it together
over Skype. Each week’s lesson should take you from three to
five hours to complete.
Who Should Take This Workshop
This workshop is intended for digital artists serious about
visual effects compositing that are already familiar with Shake.
It assumes that you have already completed basic Shake training
and are ready to learn how to use it effectively for compositing
professional visual effects shots. It is the perfect program for
someone starting out in visual effects compositing or moving up
from Adobe After Effects.
you need to learn Shake before taking this workshop, then I have
two alternatives to recommend
to you. First, you could take my
Shake 4.1 Essentials on-line training course available on Lynda.com.
If you prefer to own the DVD, the same content is also available
These two training alternatives provide an incredibly low cost way
to advance your visual effects career by learning Shake’s powerful
node-based compositing. Apple Shake 4.1 Visual Effects (Mac) can still be purchased on Amazon.com.
The cost is only $500 for
the entire one-on-one workshop. You get approximately 7 hours of
great tutorial videos, prepared Shake scripts, project media, and
a total of four hours of personal one-on-one tutoring. This is
an average of a half hour of personal tutoring for each weekly
lesson. The only other thing you will need a USB headset and a
Skype account. A USB headset can be had for as little as $19.99
and Skype can be downloaded for free.
If you decide that this workshop is not right for you upon completion
of the first week’s tutorials, then I will give you a full
refund of all your money. No questions asked.
How to Sign Up
Use the contact button below to let me know you would like to
start your personal VFX compositing workshop. I will send you a
PayPal invoice for easy online payment and follow up with the download
information for the first week’s material. You could be working
on advancing your visual effects career tomorrow!
What I like most about your One-on-One Workshop
is the personal contact.
Getting led by a very senior visual effects artist is something
that no tutorial may achieve.
It's like a secret handshake.
Prof. Eberhard Hasche - Berlin
University of Applied Sciences - Brandenburg
Department of Computer Science an Digital Media
was very nice and useful talking to you. You have a gift:
it is to explain things in a very understandable way,
for a stranger like me it is very useful to hear you talking "clearly".
And of course the way
it is beautiful, as beautiful
as this fascinating subject I want to master. I think I will
advanced composite course in Maine, too, so I
will be able to meet you there. Thank you
again and ciao!
- Valerio Oss
Owner, Pixel Cartoon
Valerio did come to the
US to attend Steve's Advanced
VFX Compositing Workshop
at the first ever
visual effects workshops taught at the Maine Media Schools of Photography
vfx workshop topics
Here is an overview of the topics covered
each week, plus a sneak preview of one of the
videos from each week. Just click on
the video icons to play. These previews are low resolution,
while the actual tutorials are 1024 x 768. The total runtime of the
video tutorials for all eight weeks is 6 hours and 48 minutes.
|Working with Keyers
|runtime: 66 minutes
Bluescreen and greenscreen
compositing are the bread and butter of digital compositing. Explore
different keyer technologies by working with Keylight, Primatte,
and the ChromaKeyer on a variety of problems to compare results.
Learn their strengths and weakness and when to use which. Understand
the despill operation and its inherent artifacts.
|Working Outside the Keyer
|runtime: 80 minutes
The sales brochure aside, you can never just plug a
bluescreen into the keyer and dial in a professional composite. You
invariably must help the keyer by using a number of strategies that
include pre-processing the bluescreen and devising clever divide
and conquer strategies. Learn the secrets of pulling multiple keys
and combining them in your own composite outside of the keyer.
|runtime: 37 minutes
A great deal of the work in digital compositing is
to composite CGI (3D animation). The modern digital compositor must
know how to work with multi-pass CGI renders as well as multi-plane
compositing. Learn why color correcting the CGI elements must be
done using the unpremultiplied version even though the CGI is delivered
|Photorealistic Color Correction
|runtime: 53 minutes
Whether compositing CGI or bluescreen elements,
a key step in a professional digital composite is to color correct
the various layers so that they all appear to have been filmed
together. Develop a methodical step-by-step procedure to guarantee
photorealism in your composites plus the “constant green” method
of color adjustment that leaves brightness undisturbed.
|runtime: 51 minutes
Color correcting the layers of a composite is merely
the first step towards achieving a convincing composite. All of the
other layer attributes must also be convincingly matched which include
lens effects, grain and noise matching, depth of field, shadows,
edge blending, and light wrap effects.
|runtime: 28 minutes
Rotoscoping is a core skill in digital compositing
and indeed may be the first job a new compositor gets. Learn about
spline-based rotoscoping, how to choose the appropriate keyframe
strategy, articulated rotos, creating motion blur, and how to do
a quality inspection of your finished roto to find your mistakes
before the boss does.
|Massive Matte Methods
|runtime: 46 minutes
In every composite you will need to isolate one
or more objects with a matte for special treatment – color correction,
a blur, you name it. Learn multiple methods of creating a matte designed
to fit any situation – lumakey, chromakey, the difference matte,
the color difference matte, garbage mattes, and how to “roll
your own”. Being able to quickly create a clever matte can
save you hours of rotoscoping.
|Working with Video
Most digital compositors will be working with video,
which brings its own long list of issues to the table. Learn how
to de-interlace video (and when you don’t have to!), how to
cope with non-square pixels, when and how to perform a 3:2 pullup
and how to put it back with a 3:2 pulldown. Learn tips, tricks, and
techniques for coping with the 4:2:2 color sampling of video.