Morph & Warp – 2:45
In the next couple hours we will learn everything about the ReVisionFX plug-in named ReFlex. This plug-in ships for free in Combustion and has 3 different tools within one plug-in. The Morph operator allows you to morph one or more images either from still images or individual frames from video clips. The Warp operator allows you to warp and distort the pixels on an single layer or image whether it is a still image or a video clip. The Motion Morph operator allows you to morph warp and blend 2 video clips into each other. We first look at all the common tools and parameters of the 3 tools and then start creating and learning how each works. We use the warp to create a cartoon look of a car as it drive past making its tire inflate to a very large size then to a very small size. Then we look at the Morph and you’ll learn how to morph multiple video clips and use frames from those video clips on a nested layer. We also morph several still images of different wildcats so each one morphs into a different animal. Lastly we’ll learn how to use the Motion Morph to morph 2 video clips of people, an adult and a child. You’ll learn many time saving techniques such as how to use the tracker to create most of the animation for you splines.

G Buffer Builder – 0:45
This new operator allows the Combustion 4 user to take advantage of all the 3d Post operators with any type or format of footage. Normally you would need a RPF file from 3ds max to take advantage of such operators as 3D Glows, G-Buffer Extract, and G-Buffer Selections. So we first look at the RPF file within Combustion to understand the possibilities of this new operator and then you’ll learn how to create source files that you can feed into the G-Buffer Builder from the paint module or any drawing or image program. Learn how to add 3D Depth of Field, 3D Lens Flare, 3d Fog and more. You also learn how to create selections based on Object IDs and Material IDs for color correction or effect operators.

Frame buffer – 0:05
Here you’ll learn how easy it is to set of a live framebuffer through firewire connection on your external display monitor. This is especially important when performing color corrections and you need to see the active view port on your broadcast monitor.

Color Correction – 1:45
Here we look at the color correction operators available within Combustion 4. We focus on the Discreet Color Corrector through most of the lessons. You learn important workflow tips such as pipeline processing within the Discreet CC. Everything is covered from the color wheel, the basics controls, the histogram, the curves and most important the ranges. Several examples are shown as to sample your color information and perform different color corrections to solve common issues. You learn how to use the sample options and perform color matching from one clip to another. Near the end we discuss and demonstrate several effects using color correction operators such a creating a hand drawn look, a pastel or water color look and an oil paint effect with more control than just applying an oil paint operator. In the end we look at the Slave Capsules which allows you to perform color correction across multiple layers using on Discreet CC as your master controls.

Bit Depths – 0:15
Following the Color Correction lessons we discuss the concept of bit depths within Combustion and how to use a Bit-Depth Converter to promote or demote bit depths within your workflow.

LUTs – 0:25
Look Up Tables (LUTs) allow you to view a high bit depth color space on an 8 Bit display monitor. Here we look at the multiple was to use LUTs and why you would use one over the other. Example when performing color corrections it is recommended to perform those corrections in log space and the majority of your image transformations should be perform in linear space. So lastly there is a tutorial explaining the procedure of using multiple Bit Depth operators and LUTs with cineon files to do exactly that.

Grain Management – 0:15
Continuing on with the Cineon files we look at the grain management tools in Combustion. Whether you are looking to add grain or remove it you’ll learn how to do so with these tools. You’ll also learn how to use the powerful match grain tools.

Keying – 1:15
Over the next hour and more you’ll learn how to use the keying tools in Combustion 4 including the new Diamond Keyer. But in the beginning we focus on the Discreet Keyer since you’ll be using modules from the Discreet Keyer with the new Diamond Keyer it’s important to understand it first. We also discuss the type of camera’s and different video formats and why you want to use one over the other. Then we focus on DV footage which is the hardest and worst format you want to use. If you can key crappy footage you can key good footage right. So we look at 3 flavors of DV footage: HDV, DV Cam and finally the dreaded consumer quality Mini DV (NOOOOOOO!!!!!!) You’ll learn all the modules from the Discreet Keyer such as the matte control, curves, color suppression and understand the different color spaces the Discreet Keyer can work in. Once we understand the Discreet Keyer we move on the new Diamond Keyer. Why another keyer was the old one broken No and you’ll learn the difference and understand why Combustion offers multiple keying tools. In the end we discuss the procedure to creating the best key with DV footage and it’s compression issues plus you’ll learn how to use selections with multiple keys when one keyer isn’t going to get the end result you want.