![]() ![]() In the old days (pre-digital acquisition), film negatives had to be scanned before any sort of VFX could be added to a scene. So there’s something here for everyone interested in VFX workflows. Many of these recommendations are tailored to smaller teams handling 2D compositing-type effects, but most of the principles will apply to large 3D/CG as well. We’ll cover the basics of building your own VFX workflow from top to bottom, and help answer questions on everything from hardware and software choices, to setting up proper color management, folder structures, and file naming conventions for your project. In today’s article, I’ll lay out several best practices for VFX workflows. Once we understand the fundamental components and how they fit together, it’s fairly easy to build new workflows that fit our particular creative needs and technical resources. In all that time, I’ve learned firsthand the ins and outs of different types of VFX workflows, and truly appreciate how difficult it is to build one from the ground up.īut I’ve also come to realize that VFX pipelines aren’t something to be scared of. I’ve also managed shots that had to be sent out to vendors all over the world, and wrangled pipelines of major commercials and features. As a Resolve colorist and Flame/Fusion VFX artist, I’ve done my fair share of VFX compositing, rotoscoping, keying, object removal, tracking, and basically any other VFX process you can think of.
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