I have worked 20+ years in VFX onset and off plus 10 in Art Dept and this is an almost perfect summation of the process ... excellent tutorial. My only comment would be to add Standby props to the list of must get along with onset. I know you mentioned Art Dept but this is the onset face.
I can't even explain how much value i gained from this video, I'm applying for a VFX Production Assistant job and wanted to brush up on my knoweldge in this area and i feel like i just learnt double what i was already aware of haha, awesome video Hugo, Cheers
Congratulations! You are a great professional and your tutorials are being very helpful to generations of young (and not so young) vfx artists all over the world including myself. Muchas gracias y que la fortuna te acompañe!!!
Thanks so much, I am so happy that it helped you in your gig. Very good news. Maybe you could return the favor and either support the channel in Patreon or share it with your colleagues? Thanks www.patreon.com/hugosdesk
Hugo's Desk Absolutely!!! Question for you, when you throw up the color charts when is the best time to do this normally? I’m a bit worried I’m going to be in the way of people.
I only recently discovered this channel and the information is very valuable for any student of VFX. When I joined ILM, we had to learn a lot of things on the job. The training I got at ILM was very good, but I wished I could have gone on set more often to see the shot acquisition process. Thank you for putting up this information!
Hugo's Desk will be live on Twitch tomorrow Sunday, 17th March from 15.00 GMT. This will part Two of a CG compositing Nuke workshop using a real production shot. Hope to see you there. www.twitch.tv/hugosdesk
Great video! The green cube is a great idea... definitely something to add to my shoot kit! One bit of advice that I would add is when you are on set, synchronize the time on all your cameras and your watch! Then make a note of what time of day each set up was shot at... shot 1 from 7:15 am to 9:15 am etc... that way when you get back to base you can quickly work out which on set photo's apply to which shot set up because all the time and dates line up!
Hugo, thank you so much for all the information you give to us, i mean, this is real liquid gold!! i have a question, which camera would you buy today in 2024 for photo textures?, thank you so much !!!
On your use of Canon cameras. As a VFX Supervisor of 20+ years I refuse to use CANON as I once complained about dead pixels and a banding problem on a camera and their response was "It is difficult for us to know what to do for you not knowing exactly what your expectations are regarding digital photography." They replied that you had to zoom in 200% to see the issues so what was my problem. The camera was deemed to be operating to specification. They changed the sensor anyway and the new sensor had ten times the dead pixels and the same banding problem. This was the head office for Australia and when I asked them to check my (visual) analysis they said they didn't have monitors to view them. They have obviously moved on since then but they lost an early adopter and a 20 year user of Canon film cameras.
I completely understand. I have been lucky with Canon, never had any issues. It is too late for me to switch to Nikon, I have 20 Canon lenses already and 7 of them L series. I already invested way too much money at this stage.
Depends on the production. At The Mill, we had the Kits available so The Mill own the equipment. But as a freelance VFX sup, you need to have some of your own gear and you rent the rest yourself. It all goes to the quote. I prefer to have my own equipment as much as I can so I can keep it top notch. But that's my way! You could rent it all if you wish!
great videos, . i need help on camera selection: Ursa mini 4.6 1gen BMPCC 4/or 6k Sony FX-30 vfx im gonna use it mostly indoor and for stopmotion/vfx/greenscreen work. im litterly lost, i know all 3 good but i know nothing about Vfx, i see the new sont fx30 is 14bit is that a better option post than the 12bit from the BMPCC 4k -6k? and the fx dont have internal raw?
Amaaaazing content! Thank you so much Hugo! I've started giving some small contribution on Patreon, and hopefully in a near future I'll be able to contribute more! :D Cheers from Brazil!
Both these videos are really helpful, I'm looking for the half chrome half matte ball, but can't find them. Could you let me know where I could get them from.
Thanks for the great talk Hugo! What are your thoughts on taking more than 4 fotos (eg not 90° increments, but 45° increments)? Some of the 8mm lenses that i came across have really problematic areas near the edges eg soft spots, crazy aberation etc.
+biberbotzemann Thanks for watching. Well I never tried 45 degrees. Usually have to be very quick onset so need to minimise the amount of photos, but could work.
I'm currently looking at capturing HDR's and debating between filming with DSLR, 360 camera (theta Z1) or chrome gazing ball. I'm leaning more towards the chrome ball but shooting it with the same cine camera on set (I'm directing the project) Is there any benefits of using the same camera and angle that I am going to use as backplate (same colour science, lens, etc), or should I just stick with the 360 camera?
Do you still think a 5D SR is a good investment now? I'm considering picking up a second hand one for both on set supervision as well as photogrammetry. I do love canon and tend to feel disappointed with Sony's. I was wondering if you'd recommend anything else newer?
Btw - I cannot thank you enough for this video. It really has helped me deal with some serious jobs this year whilst transitioning from cinematography to vfx!
The tools are the tools. If you have to rent some of it you include it in your kit fee. You get the cheaper versions. lIke not the Bosch but the Chinese laser measure. I own a Chinese laser measure with inclinometer that cost $80 or so. Works every bit as good as a Leica. If I could post a picture I would as I just wrapped on Gotham and i have my whole kit in my living room. This is what i use. They have them for even cheaper for 120M now.. Never had one issue with it being wrong vs a Leica www.amazon.com/gp/product/B01CV8D8UC/ref=oh_aui_detailpage_o07_s00?ie=UTF8&psc=1
Hugo very nice workshop, need to ask something, using RICHO THETA can i use to create hdri, since that captures in brackets. if not then what can i use apart from ninja rig, i have been using that but its really bulky & takes lot of time to capture. i need to replace car which means i need moving reflections how can capture that since its car replacement. i was thinking to use richo theta. i saw go pro also which records raw. and i know RICHO THETA only produce JPEGs. i saw one more which is panono shop. let me know whats your opinion on that.
It’s possible to use the Theta with a tripod and the IOS app. As long as you take a lot of brackets then JPG won’t be a problem. The only issue is the lack of resolution. I use a 5DSR so I can make 50 megapixels HDRis. It is bulky but gets the best results.
I would just add that the Richo theta V is a great little camera, (especially for desk top/ small space HDRI where it may not be practical to get a full DSLR) ... but it is very limited on the shutter speed/ ISO ultra low exposure is an issue with it. Usable for indoor work, but if you are outside in bright sunlight it won't really hold up. You want those low exposures where the sun is a tiny dot of light, and the Theta can't quite get there.
hmm Never needed more then 4k hdri accept on a feature. We use theta S and V for 99% of our hdri. technically you don't need more then maybe 2k for the actually hdri. You only need more resolution for the reflections in the enviroment map which is actually a seperate thing in most renders they just let you short cut. That short cut is a render hog. So if you don't have really reflective 3d surfaces ie cars and glass close up. you don't need a whole lot of resolution most of the time.
You are absolutely right here. But many times I deliver in 4K (I mostly work in Games Cinematics lately) and I do need reflections so no harm on having a nice 50 mega pixel HDR in case I need it. If you have the time and you can make one why not! But you are right, a good VFX Sup should always judge the moment and make the best option that takes less time onset. The Theta V is a great option for sure. Thanks for the feedback and comments. My community really appreciates your great input. Btw, big fan of your work on Gotham.
Well I should remember that more they you are reading these as well. You are more aware of my smart assness and less seriousness. You know I have a lot of respect for you Hugo. Sure it doesn't hurt to make a huge hdri for an asset but a lot of people seem to want to stick that in a scene and then kill a render farm. What people also really need to be aware of is on set etiquette. Making 1st AD, DOP, DIT, Gaffer, Key Grip your best friends is a very good idea. Knowing what to take on set is is way down on the list of how to be successful on a set. Knowing how to help the Producer and Director look good at the end of the day and not be over budget. Knowing what it cost to fix something on set vs in VFX its a huge thing as well. I'm just not sure one can learn to be on a live action set from a video. Like several people asking what they should charge. If one doesn't know what to charge then one is probably not ready to be on a set. Learning the tools and kit sure. but one probably needs to be a Data Wrangler long before one is an onset supe. I also see a lot of DATA WRANGLERS being called onset supes. Which they are not.
Most of the stuff you are talking about is meant for amateurs. Production pays for everything making yourself buy all of that is a complete waste of money. Where do you work? Definitely not familiar with union rules and equipment. Supers on set barely come with any of that. Its all been taking care of already. Do you work in North America?
The equipment I am sharing on the video is the equipment we used at The Mill for years. I am showcasing equipent to buy or rent if you are a freelance VFX Supervisor. If you are staff, of course, the company will either buy the gear or rent it. I work in London and unfortunately, the sets over here do not have VFX equipment. You have to bring it if you are a freelance Sup. I used to be Onset VFX Sup for The Mill for 4 years. We always had to bring The Mill's gear or rent it. Production companies do not get anything for us.
My professor is a VFX supervisor and he told me the same things. Anyway do you have only patreon for tutorials or do u have some other online lessons? Cheers from Italy
![ไลฟ์สุ่ม iPhone 295 บาท... โกงมั้ย?[ โกงมั้ยครับ ep.97 ] | DOM](http://i.ytimg.com/vi/gdstHEE4UUE/mqdefault.jpg)
I have worked 20+ years in VFX onset and off plus 10 in Art Dept and this is an almost perfect summation of the process ... excellent tutorial. My only comment would be to add Standby props to the list of must get along with onset. I know you mentioned Art Dept but this is the onset face.
Thanks so much for watching. I am planning to make a sequel to this with some new stuff so I will add for sure. Thanks
I can't even explain how much value i gained from this video, I'm applying for a VFX Production Assistant job and wanted to brush up on my knoweldge in this area and i feel like i just learnt double what i was already aware of haha, awesome video Hugo, Cheers
Thanks so much for saying that. Good luck with everything
Congratulations! You are a great professional and your tutorials are being very helpful to generations of young (and not so young) vfx artists all over the world including myself.
Muchas gracias y que la fortuna te acompañe!!!
Thank you so much for saying that. Means a lot to me. You are too kind
Thank you so much for this. Got my first VFX Supervisor gig and this has made me infinitely more prepared.
Thanks so much, I am so happy that it helped you in your gig. Very good news. Maybe you could return the favor and either support the channel in Patreon or share it with your colleagues? Thanks www.patreon.com/hugosdesk
Hugo's Desk Absolutely!!! Question for you, when you throw up the color charts when is the best time to do this normally? I’m a bit worried I’m going to be in the way of people.
I only recently discovered this channel and the information is very valuable for any student of VFX. When I joined ILM, we had to learn a lot of things on the job. The training I got at ILM was very good, but I wished I could have gone on set more often to see the shot acquisition process. Thank you for putting up this information!
Thanks so much for the kind words. Glad I could help.
Hugo's Desk will be live on Twitch tomorrow Sunday, 17th March from 15.00 GMT. This will part Two of a CG compositing Nuke workshop using a real production shot. Hope to see you there.
www.twitch.tv/hugosdesk
Great video! The green cube is a great idea... definitely something to add to my shoot kit!
One bit of advice that I would add is when you are on set, synchronize the time on all your cameras and your watch! Then make a note of what time of day each set up was shot at... shot 1 from 7:15 am to 9:15 am etc... that way when you get back to base you can quickly work out which on set photo's apply to which shot set up because all the time and dates line up!
Excellent note! I'm on set supervising a short this weekend and I'll definitely be taking time of day notes as well :D
Thank you!
Good luck with the shoot. Thanks for watching
Hugo, thank you so much for all the information you give to us, i mean, this is real liquid gold!! i have a question, which camera would you buy today in 2024 for photo textures?, thank you so much !!!
Incredible tips and professional tips
Hey BenQ, we just bought a BenQ 27" 4K monitor at least partly based on Hugo's sponsorship! Keep supporting him!
+Ian Zainea Thanks so much for the support. I just told BenQ and they are very happy.
On your use of Canon cameras. As a VFX Supervisor of 20+ years I refuse to use CANON as I once complained about dead pixels and a banding problem on a camera and their response was "It is difficult for us to know what to do for you not knowing exactly what your expectations are regarding digital photography." They replied that you had to zoom in 200% to see the issues so what was my problem. The camera was deemed to be operating to specification. They changed the sensor anyway and the new sensor had ten times the dead pixels and the same banding problem. This was the head office for Australia and when I asked them to check my (visual) analysis they said they didn't have monitors to view them. They have obviously moved on since then but they lost an early adopter and a 20 year user of Canon film cameras.
I completely understand. I have been lucky with Canon, never had any issues. It is too late for me to switch to Nikon, I have 20 Canon lenses already and 7 of them L series. I already invested way too much money at this stage.
Thanks for the informative insights!
Vi logo que eras tuga pela maneira que disseste Guerra. Parabéns pelo teu sucesso e pela maneira acessível de comunicar e ensinar.
Instantly subscribed as this is video was so helpful, I'm a vfx student at uni
Hey Hugo!! Helpful tips! and really nice work!
+Michel Sanabia Thanks so much
Very useful info, thanks so much!
+vfxjimmy Chen No problem. Thanks
Excellent!
This channel is amazing.
Thanks so much. Feel free to share and spread the word. Also If you want to support the channel in Patreon. www.patreon.com/hugosdesk
Hugo's Desk I will! I have been looking for VFX supervisor resources for so long as well as switching from AE to nuke
Amazing content!
Glad you enjoyed it
Very insightful
+James Cullen Glad you liked it.
Nice topics
So when will I be able to purchase a Hugo's Desk shirt? ;) That would be awesome
+Michael Baula Ha ha ha I guess I should make that. I am going to look into it for sure
What would be the new best camera for on-set supervisors now? The pocket 6k pro?
thanks a lot i learned sooooo many things
Do sups have to get everything ? Like lights, camera, and in these 7-10 luggages 😱😱. Dont the production provide these ?
Depends on the production. At The Mill, we had the Kits available so The Mill own the equipment. But as a freelance VFX sup, you need to have some of your own gear and you rent the rest yourself. It all goes to the quote. I prefer to have my own equipment as much as I can so I can keep it top notch. But that's my way! You could rent it all if you wish!
Hello Hugo,
Easyslate.com no longer works do you have another place you use to get that equipment?
Sorry not sure. This video is pretty old so I would have to look for another company
great videos, .
i need help on camera selection:
Ursa mini 4.6 1gen
BMPCC 4/or 6k
Sony FX-30 vfx
im gonna use it mostly indoor and for stopmotion/vfx/greenscreen work.
im litterly lost, i know all 3 good but i know nothing about Vfx, i see the new sont fx30 is 14bit is that a better option post than the 12bit from the BMPCC 4k -6k? and the fx dont have internal raw?
Amaaaazing content! Thank you so much Hugo! I've started giving some small contribution on Patreon, and hopefully in a near future I'll be able to contribute more! :D
Cheers from Brazil!
+Thomas Honda Thanks so much for the support. Really appreciate it. Obrigado caro amigo.
Both these videos are really helpful, I'm looking for the half chrome half matte ball, but can't find them. Could you let me know where I could get them from.
They are out there if you google VFX chrome ball but they are pricey.
Thanks for the great talk Hugo!
What are your thoughts on taking more than 4 fotos (eg not 90° increments, but 45° increments)? Some of the 8mm lenses that i came across have really problematic areas near the edges eg soft spots, crazy aberation etc.
+biberbotzemann Thanks for watching. Well I never tried 45 degrees. Usually have to be very quick onset so need to minimise the amount of photos, but could work.
@@HugosDesk Hello! do you use 8mm on Full Frame? no crop factor?
Nope no crop factor. I use a full frame Canon 5DSR. Thanks
I'm currently looking at capturing HDR's and debating between filming with DSLR, 360 camera (theta Z1) or chrome gazing ball. I'm leaning more towards the chrome ball but shooting it with the same cine camera on set (I'm directing the project)
Is there any benefits of using the same camera and angle that I am going to use as backplate (same colour science, lens, etc), or should I just stick with the 360 camera?
Do you still think a 5D SR is a good investment now? I'm considering picking up a second hand one for both on set supervision as well as photogrammetry. I do love canon and tend to feel disappointed with Sony's. I was wondering if you'd recommend anything else newer?
Btw - I cannot thank you enough for this video. It really has helped me deal with some serious jobs this year whilst transitioning from cinematography to vfx!
I should rob a bank to be a VFX supervisor! Hugo, some of us are poorer! :))
Ha ha ha, well you can rent most of it. And hopefully charge the client in your daily rate. Thanks for watching.
Thank you Hugo for your time putting all of this things to us, new on the field. Bless you!
No problem
The tools are the tools. If you have to rent some of it you include it in your kit fee. You get the cheaper versions. lIke not the Bosch but the Chinese laser measure. I own a Chinese laser measure with inclinometer that cost $80 or so. Works every bit as good as a Leica. If I could post a picture I would as I just wrapped on Gotham and i have my whole kit in my living room.
This is what i use. They have them for even cheaper for 120M now.. Never had one issue with it being wrong vs a Leica
www.amazon.com/gp/product/B01CV8D8UC/ref=oh_aui_detailpage_o07_s00?ie=UTF8&psc=1
very nice！
Thanks so much
Hugo very nice workshop, need to ask something, using RICHO THETA can i use to create hdri, since that captures in brackets. if not then what can i use apart from ninja rig, i have been using that but its really bulky & takes lot of time to capture. i need to replace car which means i need moving reflections how can capture that since its car replacement. i was thinking to use richo theta. i saw go pro also which records raw. and i know RICHO THETA only produce JPEGs. i saw one more which is panono shop. let me know whats your opinion on that.
It’s possible to use the Theta with a tripod and the IOS app. As long as you take a lot of brackets then JPG won’t be a problem. The only issue is the lack of resolution. I use a 5DSR so I can make 50 megapixels HDRis. It is bulky but gets the best results.
I would just add that the Richo theta V is a great little camera, (especially for desk top/ small space HDRI where it may not be practical to get a full DSLR) ... but it is very limited on the shutter speed/ ISO ultra low exposure is an issue with it. Usable for indoor work, but if you are outside in bright sunlight it won't really hold up. You want those low exposures where the sun is a tiny dot of light, and the Theta can't quite get there.
hmm Never needed more then 4k hdri accept on a feature. We use theta S and V for 99% of our hdri. technically you don't need more then maybe 2k for the actually hdri. You only need more resolution for the reflections in the enviroment map which is actually a seperate thing in most renders they just let you short cut. That short cut is a render hog. So if you don't have really reflective 3d surfaces ie cars and glass close up. you don't need a whole lot of resolution most of the time.
You are absolutely right here. But many times I deliver in 4K (I mostly work in Games Cinematics lately) and I do need reflections so no harm on having a nice 50 mega pixel HDR in case I need it. If you have the time and you can make one why not! But you are right, a good VFX Sup should always judge the moment and make the best option that takes less time onset. The Theta V is a great option for sure. Thanks for the feedback and comments. My community really appreciates your great input. Btw, big fan of your work on Gotham.
Well I should remember that more they you are reading these as well. You are more aware of my smart assness and less seriousness. You know I have a lot of respect for you Hugo.
Sure it doesn't hurt to make a huge hdri for an asset but a lot of people seem to want to stick that in a scene and then kill a render farm.
What people also really need to be aware of is on set etiquette. Making 1st AD, DOP, DIT, Gaffer, Key Grip your best friends is a very good idea. Knowing what to take on set is is way down on the list of how to be successful on a set. Knowing how to help the Producer and Director look good at the end of the day and not be over budget. Knowing what it cost to fix something on set vs in VFX its a huge thing as well. I'm just not sure one can learn to be on a live action set from a video. Like several people asking what they should charge. If one doesn't know what to charge then one is probably not ready to be on a set. Learning the tools and kit sure. but one probably needs to be a Data Wrangler long before one is an onset supe. I also see a lot of DATA WRANGLERS being called onset supes. Which they are not.
can you turn on the subtitles please?
Unfortunately not all videos generate subtitles. TH-cam sometimes makes it available and sometimes it does not. Sorry
@@HugosDesk thanks
"The Art Department will gladly help you.... if you are a nice person..." 😆😆
Yep!
check edelkrone tripods they are awesome
the vfx set supervisor is as important as the dp and the director but they are often the ones who have to beg or hustle for time...and money.
Legends!!!! i dont speak english
I am sorry but this is a free video, I can't make subtitles for all videos. It would be a lot of extra work.
Hi Hugo! I try do link my amazon prime with your twitch with no luck. I”m in canada and my amazon prime is from canada. So what i’m doing wrong!?
Most of the stuff you are talking about is meant for amateurs. Production pays for everything making yourself buy all of that is a complete waste of money. Where do you work? Definitely not familiar with union rules and equipment. Supers on set barely come with any of that. Its all been taking care of already. Do you work in North America?
The equipment I am sharing on the video is the equipment we used at The Mill for years. I am showcasing equipent to buy or rent if you are a freelance VFX Supervisor. If you are staff, of course, the company will either buy the gear or rent it. I work in London and unfortunately, the sets over here do not have VFX equipment. You have to bring it if you are a freelance Sup. I used to be Onset VFX Sup for The Mill for 4 years. We always had to bring The Mill's gear or rent it. Production companies do not get anything for us.
So basically you need a million dollars to start off as a set manager.
No, not really! You can rent all of it!
money
Yes to earn money you also need to spend money! Could't agree more!
This is the worst job on earth Jesus.
hahaha i can think of worst jobs...
My professor is a VFX supervisor and he told me the same things. Anyway do you have only patreon for tutorials or do u have some other online lessons? Cheers from Italy
Nice topics