🎉 This Thursday: Rufus Blackwell & the Toughest Green Screen Shot He's Ever Undertaken

Hey Logik!

Don’t forget to join us this Thursday at NOON ET for @RufusBlackwell’s Autodesk Vision Series VFX breakdown titled: Camila Cabello & the Toughest Green Screen Shot I’ve Ever Undertaken. :dancer:t2:

Register here: Webinar Registration - Zoom

See you there!


The time zone makes this a little tricky. Hopefully it will be available on demand once the live show has finished @robert.doche


It will be available on Autodesk’s YouTube channel 1-2 weeks after the event. :slight_smile:


The “register now” button is greyed out for me…


@digitalbanshee @GPM Use this link (official registration is closed) :slight_smile: : Webinar Registration - Zoom

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Thanks Robert. Might be a good idea for that info to be on the registration link too…

So I’ve registered, but the link above does not go to the actual show, and after registration it does not give a link to see it… ?

@GPM Once you click Register, it’ll give you a link to join in that same window.

There wasn’t any link when I registered. Maybe I’m missing something?

Weird. Now the registration link gives a link to the show – it didn’t before.

Great show - thanks!

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Amazing work Rufus! Thanks for sharing your techniques. There’s a wealth of information to glean from your presentation.

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Loved this presentation and Autodesk must host more of these in terms of Flame. As David said there was a wealth of parts or knowledge-nodes that all add up to a whole, as complex as the schematic Rufus built.

One thing struck me, and perhaps tells of my lack of knowledge. When discussing the matte motion blurring with using the motion analysis+motion blur, Rufus mentioned 90 degree shutter at acquisition and not 180 degree. Is this an camera+vfx technique that I am unaware of and that it is better to use 90 degrees or less and for better compositing and separation? If so, this reminds me of a “fix” that someone discussed on a video I was watching in terms of the new gyro on the Blackmagic cameras and using a 60-90 degree shutter speed to compensate for the rolling shutter with the new gyro-stabilisation for a better stabilisation. They were talking about it not introducing as many motion artefacts when stabilising and so then introducing motion blur in Resolve to get to the 180 degree look.

If I am understanding it with composites, this makes sense as you can separate the elements easier in the shot and then introduce the 180 degree in post. Again, I may be showing a lack of knowledge, but this sounds really interesting, and a bit like degrain and regrain to bury the bodies? I’ll give this a try on my Blackmagic 6k Pro.

Again, great walkthrough and cannot wait for it to be uploaded to pick it apart a little.


PS, interesting also in terms of the colour grading methodology in bypassing the effects tab. You wouldn’t think of using Fusion in Resolve instead of the colour tab, but the complexity of the work that Rufus was undertaking made sense.

Slightly OT, but in addition to adding motion blur to sharp lens green screen edges, I do the same for roto mattes, which can help a whole lot.


Yes, a shorter shutter does reduce motion blur and makes certain tasks easier. In my experience, ya better have a really good reason to ask the Director of Photography to change her shutter, as it really does change the look and feel. And, when you mess with the look and feel, clients get used to it and then one day you add all the motion blur back in (which, works, but requires some painting and finessing and isn’t a one click dealio) and the clients complain that now it looks all blurry and they cant see anything and you ship a skinny shutter and the DP sees it and she calls you and complains that you ruined her film.

In my market the labor costs for Flame are so high that we’d outsource that keying in a heartbeat so for me I’d rather pay someone else a few extra bucks a frame to deal with motion blur it so I can improve (I mean, not ruin!) my relationship with the DP.

Every now and then it’s a good option.


Completely agree. Unless someone is asking how do I make this look like saving private Ryan or gladiator, I’m not telling anyone what to do with the shutter angle just so I can get a key. Almost every plate you’re ever going to key is going to be a 180 shutter. If it’s not, someone made that choice for reasons that they felt were necessary, and those reasons probably didn’t have much to do with the vfx.


Goodly points and sorry for the brief detour. Nice one!

Hi Tony

This was shot with a drone, with the Red cam on a gimbal, and while the gimbals are good, the stabilisation is not pixel perfect especially at 6K. So if it had been shot with 180 degree shutter you would definitely see the baked in motion blur looking weird once it was stabilised. 90 degree shutter is often a good compromise. I can always add motion blur but can’t really remove it much.

The post process for this was quite convoluted, I took the 6K RAW, denoised it with Neat video, exported and used Warp Stabiliser to take the jitter out, then upscaled it to 12k with video enhance AI, that further sharpens the image, undoing any softening from the stabilisation process and has quite an effect on the overall look, then back in to Flame, back down to 6K, and that’s my source file for the project. Really cool technique to get clean, sharp looking beautiful source images. Then bringing the CG and the live action together and tweaking to get it looking like one cohesive whole, including tweaking the motion blur for both.

Personally there are many instances where I will have a discussion with the DoP about which shutter speed, resolution, frame rate etc. we should be shooting the get the elements right for post. So for example if they’re planning on doing some time remapping in post, then we might go for 50 or 100fps to give us the intra-frame information for a time remap, even if we have to lose some resolution to get it. Again in that instance I would ask for a fast shutter speed because you will need to be creating the correct motion blur in the time remapping process. Often each result frame will span across multiple source frames, but with that info the time remap tool (TimeWarp, sigh) will have the info it needs to create correct 180 degree motion blur, even across a ramped time remap.

Also if you’re planning on slowing it down with the amazing ML timewarp tool then you would want the source images to be as sharp as possible. Baked in motion blur in slowed down images doesn’t look great.

Probably quite soon we will have a AI tool to effectively remove motion blur, can’t be far away I reckon. I saw it demo’d on stills a while ago, but I haven’t seen any tools available to us yet.


Hi Randy and Tony,

Would there be a recording of this presentation I could watch pls ?

Hope your all well.