The Ultimate Manual for Creating a Successful VFX Workflow

 

If you are an artist and wish to see your work on a big screen, Visual Effects aka VFX courses in Pune is a good career option for you. You can work on high-stake projects, associate with the topmost studios and climb up the corporate ladder to lead teams of talented VFX Artists.

 

I've done my fair share of VFX compositing, rotoscoping, keying, object removal, tracking, and pretty much any other VFX process you can think of as a Flame/Fusion VFX artist and Resolve colorist. I've also organised pipelines of significant commercials and features, managed shots that had to be distributed to vendors all over the world, and more.

 

I have gained firsthand knowledge of the ins and outs of various VFX workflows during that time, and I now fully understand how challenging it is to create one from scratch.

 

But I've also come to understand that there's nothing to be afraid of when it comes to VFX pipelines. It's relatively simple to create new workflows that suit our specific creative requirements and technical capabilities once we have a firm grasp of the fundamental elements and how they work together.

 

I'll outline several VFX workflow best practises in the article I'm writing right now. We'll go over the fundamentals of setting up your own VFX workflow from top to bottom, and we'll help with questions on everything from selecting hardware and software to organising your project's files, managing colours, and choosing file names.

 

Many of these suggestions are made with smaller teams handling 2D compositing-type effects in mind, but the majority of the ideas still hold true for large 3D/CG projects. Therefore, everyone who is interested in VFX workflows will find something here.

 

Let's start now.

 

A little history

Prior to digital acquisition, film negatives had to be scanned in order for any kind of visual effects (VFX) to be added to a scene.

 

To ensure that the captured dynamic range, colour, and detail of a shot remains intact for VFX teams, complex processes are needed to convert an analogue, physical, chemically-processed medium to a digital video/image file.

 

The highest visual quality from the camera negative was preserved through scanning, and it still is for workflows using film.

 

The most effective techniques for scanning film have been developed and optimised by a tonne of extremely smart people. The canvas on which VFX teams can work their magic is better the better the scan.

 

 

 

Thankfully, we now have access to low-cost, extremely high-quality digital cameras. Most of the time, the digital camera files have everything we require to create quality VFX.

 

The analogue to digital conversion process is still a key factor for VFX workflows even though we no longer "have" to scan film (although many high-end productions still choose to shoot on film). With the exception that it now takes place directly behind the lens as opposed to somewhere in a lab.