The Live Action Series - Launches January 22nd

Learn to create LIVE-ACTION VFX SHOTS from START TO FINISH

Yes! I want LIFETIME ACCESS to

the Live Action Series

00Hours00Minutes00Seconds

Join The Live Action Series

Pay in full now and save $367 Off

For course questions, email Allan directly at amckay@allanmckay.com

For bulk signups (studios and schools), please contact amckay@allanmckay.com

"Understanding the entire Film Process is VITAL."

Understanding the entire Film Process is VITAL.

Specializing 'is' important. But knowing the entire visual effects pipeline inside out is critical for growth in an artist's career.

Those who can just do their job, and make a set of sparks or an explosion - are good.. But the Artists who can take the entire production shot through to completion are Rockstars!

This is called taking the ball and running with it - rather than just be someone who adds little elements to a shot, You're trusted in making it YOUR SHOT and you're able to influence and tell the story of what happens in that exact moment. The shot or sequence becomes 'your baby', by you taking ownership.

These are the ones that go on to be supervisors, that have job stability, who get to pick their projects, what they want to do, where they want to go.. Who stand out.

Understanding lighting is a critical component to making any shot look good and understanding how to integrate CG elements into live action shots, and to have true compositing knowledge to transform a shot from 'mediocre' to 'not only amazing' - But FINAL.

The more you understand about the Visual Effects process, the better grounded and the more vital you are to the team.

THIS IS WHAT WE DON'T LEARN UNTIL DOWN THE LINE, BUT WE SHOULD ALL BE LEARNING NOW

Even if you're just starting out
Even if you're not specifically an FX TD, Lighter or Compositor
Even if you're stretched thin with a million to-dos

Have an advantage over the others

When I first started out in visual effects, I was able to get work but I wasn't able to break into TV or Film, which is where I wanted to be. My career started out strong, but then I went through a good solid year or two not able to get any work, and I was up to pretty much demo-reel "version 6.0".

I love that I actually get to tell this story finally, because this is something that has stuck with me my entire career! I had a major turning point in my career (probably the biggest impact on my career was going to this studio, and it was after working there, that a lot of the big LA studios started reaching out to me). After rejection after rejection, I finally sent my latest reel to one of the top studios in Australia, and not only did I get a call back, but I was offered a job instantly.

It wasn't until I accepted the job and moved to Sydney, Australia - that I asked the then 'Head of 3D' why he hired me, since in my mind every studio seemed to have zero interest in me. James (the 3D head) said "Because your reel demonstrated a really strong understanding of integrating live action and CG together, which is really rare at the beginning of your career, and typically it's not until a few years in the industry that most artists typically "get it".

This is something that stuck with me for the rest of my career

I remember these words so vividly, it's been burned into my brain. And it's true, the last reel I had made, I decided instead of the logos or trying to do game cinematics or sci-fi flavor of the month FX. I was finding footage or stills of real life, and trying to integrate my work into them. Learning how these shots are done in Hollywood, trying to re-create exactly what ILM or other studios were doing, at least attempting to. But bit by bit I was getting more confident at lighting and integration, using projection mapping and rotoscoping my shots, I was able to learn so much that it was no longer a gamble whether to hire me, I was actually demonstrating what studios do day to day. I didn't just "know 3D" I was able to demonstrate what artists in the industry were actually doing, so it was an easy decision at that point to come into the second largest studio in Australia - and the best part was - again as James put it after my first week there "you hit the ground running". I was making real footage of animals talk, CG cars, a whole lot of stuff I had never done before, but because I understood the live action part, I was able to run with it.

This stuck with me my entire career. That was twenty something years ago - and I can single handedly relate that back to a lot of the success I have now. And when people ask what the number one skill they should learn is (and I'm sure you've heard me say this before on the Podcast, in videos, on stage at live events etc) "Having a strong understanding of integrating Live-Action and CG is critical - being able to demonstrate you can see a shot through to finish and having a solid understanding of the production process is more important than any other skill".

Being able to take shots to from start to final is critical

I believe this more than ever now.. after reviewing thousands of reels and putting together at least 50 VFX teams for productions, I've had to review reels, interview artists and hand pick who is on my team and my projects. And the more I look at artists reels - I sometimes feel like I'm just rolling the dice and hoping they can do the work..

Yes they have nice work on their reel, but when it's students or others not yet in the industry - seeing their FX elements on black backgrounds by themselves, it's out of context. Their FX look great, but do I know they can actually sit down and do the work? Or whether they understand how to hand over render elements to compositors or other team-mates? Or what to do with assets when they receive them?

Same goes with those even in the industry already, when I can see artists who created complimenting effects elements but they didn't handle a majority of the shot, I still wonder what level they're at.

Whereas, when I meet artists who can answer those questions with "I created the entire shot" or "All the FX are mine" "Rendered and lit, as well as basic comp" "troubleshot a lot of the rendering and took it through to final" - these are surefire signs that they have a full understanding of the visual effects pipeline and they're probably going to be my ideal leads for my team. Most of the men and women who I've worked with who answered with those questions are these days CG Supervisors or VFX Supervisors, or even opened their own studios.

I'm not saying you need to understand those core skills I mentioned, to be able to go be a CG Supervisor, VFX Supervisor, manage VFX production or anything like that... Well, actually "YES" I am. You are going to need these core skills to do this. You're also going to need these core skills to make your own short films, or move up to the higher-planes in your career. And if you hit your 'freelance cap' in your career and want more money, these are the skills that will allow you to command higher prices.

Whether you are an FX Artist, a Compositor, Lighter or if you're not in either, you're in other areas of CG - these are the skills you want to learn. I might even say NEED TO LEARN. If you want to get top of the VFX ladder. But knowing these skills, and being able to apply them to your shots, to your productions, to your career, it's going to put you further ahead than any other artist you work with - because you're going to be able to take ownership of entire shots and sequences, how to approach shots, rescue shots and see shots through to completion. Essentially you're going to become a one-man army at any Visual Effects Studio.

Allan McKay

Live Action Series 2018

About Allan McKay

Allan McKay is a season veteran in the industry with over 20 years experience working for Industrial Light + Magic, Blur Studio, Ubisoft, Activision and many others.

Allan actively speaks at conferences such as SIGGRAPH, Gnomon, Digital Tutors, CG Society, FXPHD, as well as for Autodesk, Next Limit, Sitni Sati, and conferences world wide.

Some of his film credits include Star Trek 2, The Last Equalizer, Airbender, Looper, Transformers 3, Flight, Superman, Blade Trinity, Metallica, 2012, Game of Thrones and many more.

Awarded as an Autodesk Master and Emmy Award winner.

Long story short, do yourself a favor guys and sign up!

..Consider this: the LAS course is a never seen before, fully comprehensive training course delivered by possibly the best professional in the field and one of the very best in the VFX industry.

As a lighter and CG supervisor I never looked into FX before. In fact I considered both as a form of dark art.

That said, I'm a big fan of optimization, finding efficiency and improving workflow in general. Also as a sup the more you understand about the various parts of post-production, the better position your are in to oversee and lead it with credibility.

I thought the FXTDT course was going to be a great next step and I'm happy to report that signing up was one of the best decisions I made in a long time.

If you pay close attention to the video lessons, follow the online discussion and take part in the live reviews you will be amazed by what you will be able to achieve and create. Even with no related previous experience.

All I can say is, if you have the slightest interest in this field, then you will not find a better way to get a thorough insight into it. Chances are, Allan's FX course will be a career changing experience for you at a rather affordable price. I can only recommend it.

Zsolt is a CG Supervisor in LA, and currently part of the mentorship and just recently finished on the upcoming sequel - Independence Day 2 coming out later this year.

Zsolt Poczos

CG Supervisor

FuseFX

Los angeles, CA

Niall Horn - FX Artist
Scanline VFX

Allan Mckay has been a key part to my VFX training, as an FX Artist from an early age.

Allan was always one of the leading names in the industry, with his offering of training from the basics all the way to the advanced that FX Artists/TD's like me need. From Max, to Maya and Fume to Thinking Particles, Allan's training has helped me succeed in my personal projects and RnD, build up an FX heavy showreel, and start getting job offers from big name studios.

I would highly recommend taking Allan's Training, he's an awesome guy, with amazing knowledge on FX and our industry as whole!

Ricardo Ribeiro - Senior Environment Artist

Digital Domain

I am loving this! Even tho i am a Texture artist, i was able to use a lot of the ideas i learned here to create tools for my team and without a doubt we increased the overall performance quite a bit because of it! And now the entire studio is asking for it, they wanna make the tool a permanent shelf tool, that was quite unexpected and it felt awesome! =)

Wirginia Romanowska - FX Lead
id Software, Ubisoft

As VFX artist I'm always looking for efficient and more interesting ways to learn. Starting from first FumeFX DVD series, through Real Flow and Destruction Dynamics classes at CG Society Allan has been best professor I have ever had.

What I like about this training most is the practical, production approach, techniques I can apply at work. This is what makes me a better VFX artist.

Massimo Cipollina - FX Technical Director
MPC + Double Negative

Amazing stuff !!!

Allan gives you the right tools to became a great FX TD. All the videos are absolutely amazing, useful to start building a solid production pipeline.

The most professional fx course ever seen on 3DS Max.

Christian Hein - Effects TD / Onset VFX Supervisor
Digital Images

I want to say thank you for this phenomenal course.

I'm working as a FX Artist for 7 years now and literally grew up with max.

So i was worried about the level of skill we will get here. But so far I'm really impressed from every module we had. I've learned a lot not just on the technical side but on the automating and building assets all round. And beside Allan's teachings skills (which are incredible by the way) the members Forum is awesome as well. So much amazing and different talents.

So I'm gaining new input from them as well beside the course.

Its nice moving forward knowing there are others doing the class all with you, having similar problems or questions. luckily there are all helpful to each other. So the learning process is quite fast.

I think this makes this course such an awesome chance for everyone who wants to learn how to work in the VFX industry.

Tom Lear - Technical Director
Wolf Media

This is far and away the best VFX training you will find on the internet right now. I've taken Gnomon, Lynda, CMIvfx, DT, CGSociety and course with several other major trainers - McKay blows them all out of the water. Be prepared to work HARD and learn a lot in this class - you may end up losing a month's sleep and being 15 pounds lighter, but this time, it's a sacrifice worth undertaking.

You're literally doing every aspect of a Visual FX production.

Tracking, Particles, Dynamics, Rendering, Lighting, Shaders, Compositing.. Even bidding and planning and learning the tools to be a VFX Supervisor On-Set.

The Basics

Here's a small glimpse at just some of the things we focus on in the Live Action Series..

Real Film Lighting & Shader Techniques using industry standard software
Photo-real Rendering and Integration
Regular live reviews (with new improved review platform which has webcam support and other features)
An overview of Pre-Production and preparing for a live action shoot Digital Painting, Compositing and Photo-realistic lighting (there are probably a dozen lessons on this subject)
Overview of VFX Supervisor tools and what to bring on set
The basics of bidding a VFX shot and the role of a Producer
Realistic Water and Ocean Simulations
A completely-overkill-in-depth-look at Feature Film Destruction Pipelines and building realistic destruction and pyro at ILM quality - breaking down literally every single element and tackling shots exactly how we do in production, down to putting the finishing touches that come up in the last minute or tricks to getting shots approved and finalled by the director.
Houdini for Destruction and Water Simulations and integrating with 3DS Max for creating our visual effects
A look at Deep Compositing for use in a film studio pipeline
Creating photo-real virtual sets
Using Substance Painter for creating realistic building textures and shaders (Substance Painter not needed you can still watch the theory of all of this and apply in Photoshop or other tools)
Introduction to Matte Painting (Some of these, for instance this series is actually content being built in collaboration with one of the Matte Painters from Game of Thrones/Avatar/Battleship/Avengers etc which I'll be sharing some of the content also here).

Brand new membership platform
Killer feature film sequences aimed at photoreal delivery - taking shots start to finish through the entire feature film visual effects pipeline all the way through to completion at the highest quality
Private Facebook Group, Forum, Chat, all the things we loved about FXTDT
Brand new forum - goodbye old FXTDT style forum, hello fun happy easy to use forum!
Over half a dozen Sequences to tackle. Depending on the subject, each sequence can have anything from two to three to possibly up to heavy VFX 10 shots - EPIC!
An overview of Photogrammetry process (Also lining up a video segment where we're going to be using the worlds largest body scanning rig here in Los Angeles)
A day in the life of a VFX Supervisor - an overview of supervising on-set and what's involved
All high quality HDRI's are supplied, as well as all scene files of CG characters tracked, buildings fully built for destruction, roto needed, and other assets all supplied for the course!
All HD footage supplied - shot on a combination of RED Dragon and Blackmagic URSA family film cameras
We take a light crash course into camera tracking shots, understanding the basics of how to track a shot successfully
A crash course into grading shots for feature film
And a heck of a lot more!!

Course Features

A 360 learning environment - fully immersive
Access to private brand-new members only forum, Private Facebook Group, Group Only Chat, Private FX Wiki
Live Reviews - Live with Allan McKay and all members of the course as we review our work together as a team
Global Meet-Ups twice a year. All alumni of FX TD Mentorship and Live Action Series are invited to meet up in Los Angeles and Paris in 2016 and 2017 at events organized later in the year.
Live Career Intensives as well as Case Studies. Where Allan will break down film projects and how to approach them using both his own past projects, discussing many of the techniques and experiences on those projects, as well as students voting on other film projects to discuss and deconstruct.
Lifetime Access to Live Action Series. Upon signing up, all videos, forums and membership will be lifetime access
Access to all live reviews archived in the video vault - access each weeks reviews later, in case you missed them or want to go through much of the critical advice and information given in these sessions, as well as if you're just curious about previous sessions.
All video shot on RED Dragon 6k, RED Weapon or Blackmagic URSA cameras - 2k footage supplied to all students for use in the course
Additional assets such as roto mattes, HDRI, Camera Tracks, 3D assets and other resources supplied also
Much more inside!

Real Film Lighting & Shader techniques using industry standard software
Photo-real rendering and integration
An overview of Pre-Production and preparing for live action shoot
Digital Painting
Create Feature Film Quality FX - Simulate Pyro, Destruction, Water and other effects
Overview of VFX Supervisor tools and supervising on set
Creating photo-real CG environments integrated into live action footage

This completely immersive experience is how you're able to accelerate your learning, by having total access and total immersion to the information and others motivating you as you move through the course. This is by now means a distraction, by having things like the Facebook group and chat room, it just becomes part of day to day life rather than needing to take time out to dedicate to all of this, no longer is it a distraction but instead it becomes fun!

All of this rather than being scattered around is all tied into the main Live Action Series Members Area, for easy access. In addition to a news blog with need-to-know updates, a regularly updated calendar of upcoming events so we know what's coming up. And links to all of the latest reviews to sign up for, and an archive of all of the previous reviews in case you wish to re-watch previous reviews to see what advice Allan had given in the last one or see what other artists have been working on, there is a wealth of information in these!

Not to mention the Career Intensives, Reel Reviews, Case Studies and other great information coming up!

Here's What JUST SOME of The Students Are Doing INSIDE THE COURSE

A lot of the students were just starting out, either new to the industry or LITERALLY new to 3D. Through consistency, doing the lessons, asking questions, participating in live reviews, and sticking to the material. They were able to bit by bit better their skills, their knowledge, and their confidence. And TRANSFORM THEIR CAREER.

This course goes beyond just feeding you lessons, it's a family inside of this course. We all help each other and we all push each other. This is not a race. Some of us get there fast, and the ones who struggle, the rest of us pull you up, and keep pushing forward.

Students have gone on to land jobs at WETA, Scanline VFX, ILM, FuseFX, Encore and many other leading visual effects studios worldwide.

YES! I WANT LIFETIME ACCESS TO THE LIVE ACTION SERIES

00Hours00Minutes00Seconds

Join The Live Action Series

Pay in full now and save $367 Off

For course questions, email Allan directly at amckay@allanmckay.com

For bulk signups (studios and schools), please contact amckay@allanmckay.com

What's wrong with other courses

The problem with most courses out there is they typically have the mentality of 'just a tutorial'. They're 6 weeks long, each video about an hour in length and never really get all that in-depth. The instructors are just looking to make a 'quick buck' doing something on the side and because of that they are happy to show the basics but they don't want to give away any of their real tricks or valuable ways of working, and hand the mindset of what they're giving is 'good enough' or 'tutorial quality'.
Rarely do you see lessons that take you all the way through from start to finish, rather they cover a small piece, and the output, the final image or end result of the lesson is never at the level of quality that you would see a real production. So you're learning to do 'tutorial quality' work and never anything that you can do in the real world.

The thing is - it's that last 10% or 20% that you don't ever get to see, which makes up for most of the result. The little tweaks, subtlety's or getting your work approved are what are so critical and seems to without-fail be overlooked in every single course or lesson you ever see.

So why has this never done before?

I'm not going to lie, to shoot several epic Hollywood sequences, with a real Hollywood film crew, and to not only create all of the visual effects to Feature Film standards, taking shots start to finish.. Involves literally grading our initial shots, tracking and creating undistorted plates which we can then take into 3D - in which we then not only model everything we shot in intricate detail, but also light, texture and build realistic shaders before then doing what typically takes teams of FX TD's to develop all of the FX, render and composite everything in any given shot.

Typically - studios charge tens of millions of dollars to do all of this, and it takes months.

And we want to do it all by ourselves!

But this is what makes the Live Action Series so exciting!

we're going to push the bar on what we can do, and we're going to learn FAST! Sink or swim is the only way to really learn, putting yourself to the test and doing dozens of FX shots throughout the course, we're going to pick up decades of experience quickly, and the best part is at the end of the course we'll actually have REAL SHOTS to show for it!

The coolest thing is we're dealing with real footage, shot with real film crews, using real production cameras. A majority of what we're shooting is with RED's Dragon and Weapon, as well as Blackmagic URSA cameras. If you're not familiar with RED or BM here are a couple of films recently shot on these cameras: Jurassic World, Promethius, The Martian, Captain America: Civil War, Transformers 4, Avengers, Star Wars: The Force Awakens, you get the idea.

Recently I've showed some of the supervising team at Digital Domain about what we're about to embark on and they FLIPPED, as have the few other people I have let in on our little secret. Over and over, and I feel this way too, this is the course that we all wish we had 10 or 20 years ago (if it was possible even to do any of this back then). The information and knowledge we cover in this course is replicating what we see the big studios do, and we do it together. I mention the live action aspect a lot, because I think this is so critical. But let's not forget this IS an FX course. The FX we're doing are going to be really exciting, who doesn't want to have the chance to work on creating real shots at the highest level and get to show these off at the end of it. This is the type of stuff you want on your reel, whether you're already in VFX or starting out or if you're looking to switch careers and everywhere you go they're asking for you to show you have production experience. Well, these shots are proof that you can take the shot through the entire pipeline and you're capable of sitting down and working RIGHT NOW.

But I'll say I was nervous

After investing almost $100k of my own personal savings into this course, there were many times I wondered if I was crazy and if this is even worth it, or if I should just cut my losses.

The thing is - now - it's looking amazing, and I've never been so sure, or so excited about what we're about to embark on. This not only is a journey we get to do together, where we feel like a team all working on cool shots and having a blast while doing it.. But we are going to learn literally the entire studio process inside out and have complete knowledge of every step in the pipeline of high end shots that we can show proudly to even the biggest studios and confidently prove without a doubt to anyone that you're ready to start at their studio tomorrow, in any area you want - because you've built entire shots from the ground up to the quality of these studios by yourself - that says it all.

And this is just the beginning

Isn't that awesome! After reading that I got so excited, I wanted to see behind the scenes on EVERY page, what Russell had done...

So, I went to the website, and started to buy the product, so I could see all of the pages in his funnel...

But the problem, was depending on what I purchased, I saw different things. I got a glimpse of what he was doing, but I wasn't able to see the whole thing.

So I asked Russell if he's be willing to show me behind the scenes of his funnel, and show me EVERY page, what they did, why he did them in that order, what he had tested that worked... and what he did that didn't work.

Knowing that Russell charges $3,500 for a 1 hour consult on the phone, I didn't think I was going to hear back...

But what happened next shocked me.

I got an email back from Russell, and the subject line said:

The Live Action Series

Course Outline

What Are Sequences?

Sequences are all focused on what typically comes into a VFX studio - one sequence may be creating real VFX shots of the destruction of Los Angeles from asteroids raining down ala Armageddon, with the latest technology from today, the point is to simulate real production needs, so we need to build continuity between shots, think ahead how to set effects up to roll out easily between many effects shots and how to do it fast.

Whereas other shots might involve a massive ship crashing though an iconic beach pier, as crowds of live action and CG people run for their lives, as the pier is ripped apart, with epic water simulations, foam and splashes, wood splinters and destruction and restaurants and tourist structures collapse around it - using multiple packages (primarily Houdini and 3DS Max) to create an epic VFX sequence worthy of any Hollywood movie.

Other subjects include actual character and creature effects, from real life character shots of people dying in brutal ways (OK - think the iconic head exploding shot in Scanners using cloth sims and liquid sims to create a head erupting in slow motion) to creatures coming to life in epic VFX shots, as well as other really cool subjects!

Registration CLOSES January 12th

THE COURSE LAUNCHES - January 22nd

FX Term 1 - Century City Building Destruction

Before we dive into sequences of shots - where our focus will be in working on many FX for many shots and learning through the unique challenges that arise. Our goal of the first term is to jump in the deep end on a solo shot or a 'one off'. This will give us the chance to focus all of our attention and energy on the process and walking through a real film studio pipeline.

Initially walking through the pre-production phase we're able to learn many critical lessons on how to approach a visual effects shot 'the right way'. Planning and discussing what's involved and communicating our plan before we take action. From initial 'hand over' of our shot and then beginning to block out our shot in phases before we get involved too heavily in creating all of the elements.

As we dive into creating the effects, we first initially create our destruction and lock the look. Learning to create a solid workflow for creating our destruction dynamics and integrating it into our shot with basic lighting and shading. Our first review is after we initially build our first pass of the destruction - we then review this and decide on what areas need revisions - A really critical moment is where we then review our shot and begin to problem solve issues and revise any issues with our simulation before we finalize the animation, and export Alembic caches of everything for use in final rendering.

Once our dynamic simulation is approved and 'published' we move onto creating all of our effects which are driven from the base simulation we built. Initially focusing on geometry simulations we create many additional effects elements from sparks and embers, to additional secondary glass impacts, debris as well as dense clouds of dirt spilling out of the building as areas collapse. Each of these elements is also published and baked out to Alembic caches so they are final, and also require no further calculations.

After which we create many of our atmospheric effects, from various levels of dust, fire, explosions, shooters, smoke, smoke columns, flame bursts and internal large scale fire inside of the building, and dozens of other layers.

Meanwhile we have many intermediate implementations of our elements into composite inside of Nuke, which allow for us to see our shot progress and understand how it will all be integrated together. Finally once all of our elements are built, we begin to balance our renders out, focusing on the lighting and shading and adjusting layers until we have a perfect balance of all of our effects elements. We're then able to begin to build up our scene states for render pass creation and take our final render passes into comp.

Not only do we focus on heavy treatment in comp of our elements, as well as many tricks to integrate our elements seamlessly into the shot, and adding additional reflections and many other steps. But we're able to review our shot as a whole and what additional elements we wish to create. Here is where we're able to go into 3D one final time to make any final adjustments, as well as to create 'contact maps' of any debris hitting the sides of the buildings, as well as burn maps for our pyro elements to burn and mark up the building areas around it, and interactive lighting passes to get our fire to illuminate and light our shot as well.

All of this is performed over a fairly lengthy time, our first time is one where we focus on doing a majority of heavy duty work, but our focus is on making one visual effects shot completely amazing and taking it through to final. Understanding every step of the way and learning many of the steps involved in revising our effects as we move through the process. The final look is that of a high quality Hollywood production level visual effects shot. Which now we can start to replicate this process but on a much larger scale in many more shots in the further terms. This is an intense lesson and paves the way for the rest of the course.

FX Term 2 - Armageddon Los Angeles

Trailing on from an intense Term 1, we continue our journey now focusing on new areas as we continue the theme of building destruction but now looking at multiple shots, and sometimes multiple buildings being destroyed in the same shots. The focus is on continuity between these shots and thinking ahead on how to pull these shots off quickly and efficiently through better planning and application.

This visual effects sequence we see massive large scale asteroids raining down over LA destroying many buildings and creating major impacts and destruction. Some of the buildings they're hitting are over 470 feet tall and so retain their shape but show inner areas destroyed, while other buildings have total collapse from the disastrous impact from these asteroids. This is definitely themed around what you would see if Armageddon was created with todays technology and abilities, to be able to create feature film disaster film quality movie effects.

Starting out we review our edit of the sequence, and shot codes and assignment. We look at the effects needed and begin to break down each of the shots requirements while doing paint overs of each of the shots to get a better idea before we move ahead.

Our first challenge is designing the look development of our asteroid, creating the fluid simulations of the entire effect and the FX asset in a way that we can easily bring this into any shot easily, with maximum detail and ease of implementation. We identify a hero shot which we make the sole focus for creating our initial effects, a critical shot to do our R&D in (Always better to develop our effects in an actual shot in the right context than isolating our work). We focus entirely on creating our effects for our hero shot first, but keeping in mind we will need to roll out these effects into multiple shots later.

Once the first shot is created - with multiple asteroids tearing through one of the largest buildings in Los Angeles the Century Plaza Towers, we begin to roll the effects out into many shots with many other buildings being destroyed. Simulating massive buildings collapsing down into the ground on fire, others partially destroyed - we do basic matte paintings and projections, element tracking, utilizing many other methods to build up an epic sequence of shots, fire and total carnage. No building is left safe, including Die Hard's Nakatomi Plaza (aka Fox Tower) which we destroy over a series of shots having it crash down in a ball of firey dust and debris.

The process involved in these shots is big but we learn to share assets and think ahead, and render things efficiently. Probably one of the most critical take-aways from this term will be how to render and create our effects so they aren't heavy and are easy to push through our render pipeline. We also look at many comp tricks and ways to get our shots through to final without wasting time - and many paint techniques and texturing techniques to really push the quality of our output ten fold.

FX Term 3 - Creature Effects Sequence

Stepping away from destruction we focus on a sequence of shots of following a solo person through a deserted desert landscape. This sequence is short and to the point, as over multiple shots the environment comes to life, ground ripping open and sand and earth begins to form shapes and attack the hero.

The way that this plays out is we have unique challenges with every shot as the shape of the creature formed from rock and earth moves around and manipulates the terrain, and not only do we have to worry about creating the effects of the creature but also its surroundings. The environment as it's disturbed and destroyed around the creature. We also deal with matchmove of our hero as he interacts with the CG elements (matchmove elements are supplied, but we can discuss the process involved).

This term will be a whole lot of fun, as well as unique challenges that come up, lots of comp work, lots of particle and shader work. Integration and fast cuts, loads of challenges and the outcome will be amazing!

FX Term 3 - Scanners - Head Explosion Sequence

This term is only a couple of shots but had to be done. For those not familiar with 'Scanners' the movie, there is an iconic practical special effects shot of someone's head exploding. As grueseome as this sounds, this is a chance to do soft body and cloth simulations, fluid simulations of liquid, as well as wet map shaders, skin sub-surface scattering shaders, rendering and integration. There is so much that goes into this but this is a chance to do some really amazing effects.

What we do as our own unique challenge is creating a real news-anchor set, having only a greenscreen shot of our talent speaking and performing, and creating the digital set and setting everything up - after which with our provided 3D matchmove of our talent, we develop our initial head explosion animation, creating a realistic simulation of the skin tearing open and chunks of flesh exploding out. Our focus is on getting our animation locked before we proceed with the blood, brain and other effects. After which we move into lighting and shading our shot creating realistic skin shaders as well as focusing on integrating and switching from the live action talent in our plate, to our CG character seamlessly.

Throughout comp, we want to lock these elements down 100% before we move onto creating our liquid effects. Both soft body simulation of brain matter, as well as creating all of the liquid effects, to be a high pressure high velocity blood explosion. Later we create blood mist effects, as well as wet maps where-ever blood comes in contact, to create marks of blood on the skin, as well as body, and surrounding areas on set. We create any additional effects and balance everything in comp. What we're aiming for is a completely photoreal shot of our talent gruesomely exploding into blood guts and brain!

FX Term 4 - Pier Crash Ship Sequence (Houdini/Max)

One of the most challenging sequences we face. For many reasons, which is why it's one of the longest.

set over several major shots, as well as various quick cuts. We initially start with an establishing shot of our talent, and others overlooking the iconic Santa Monica Pier in Los Angeles out at the ocean, as a medium sized cargo ship approaches the pier at high speed with no indication of slowing down. As everyone realizes this and begins to run, we follow our main 'hero' talent as he runs through the pier, as the massive ship begins to crash through the pier, causing water to splash up as areas of the pier, restaurants and iconic structures begin to get torn apart. As the ship continues to effortlessly rip through the iconic location, as crowds of tourists run for their lives.

We have surveyed Santa Monica Pier with a LIDAR scanner to create a 'to scale' fully accurate 3D point cloud of the entire pier. And then re-created the entire location in CG as a fully destructible scene with 100% accuracy. As well as shot everything on RED Epic-W at 8K shooting both on the ground and in the air. As well collecting the HDRI and other necessary information for the shot.

Not only are we needing to challenge ourselves with creating the destruction of the pier, as the ship tears through it, both in wide as well as close up shots, but we also need to create fluid simulations of our water, foam, spray and wet shaders. But we also need to deal with many restaurants and other buildings on the pier being destroyed, as well as metal struts, Ferris wheel and other metal requiring special simulations to deform and buckle down. Explosions, sparks, and other effects litter the scene as the FX layers involved are quite high. On top of this we are creating minor crowd simulations of tourists running away in wide shots, and heavy amounts of comp work. Not to mention - this sequence we're doing a bit differently, as we want to follow the trend of many studios these days doing cross-platform productions. We do a majority of our FX work for this sequence inside of Houdini using Houdini's dynamics tools and FLIP solver to create much of the effects, that we take back into 3DS Max for rendering. This is going to be the big one!

Supervisor Core Theory

Throughout this course, while we focus on our VFX shots, we are also covering insights into other areas that compliment what we're working on. As we move through the Live Action Series, there is additional videos and content we'll be covering as additional lessons

Photogrammetry - An overview of what photogrammetry is, and the process typically involved to scan bodies and sets. We also will (in the lesson) visit the worlds largest body scanning rig, here in Los Angeles and discuss the process involved for scanning actors and how this feeds into a typical studio pipeline and film process.
VFX Supervisor Gear - A walk through of the main tools any VFX Supervisor should have, and what they do. Understanding what to pack and what to prepare for when you're on any shoot
The basics of bidding - An overview of what's involved in bidding and how to get initial work into a studio. From how to approach clients, and when you do receive work to bid on, how to break down pricing and estimation to accurately price out your studios services to the client. From building the bid, and what to look for and what are some of the critical parts of the process
Deep Compositing - A crash course into deep compositing for feature film and advantages as well as workflow
Matte Painting - (Some of these, for instance this series is actually content being built in collaboration with one of the Matte Painters from Game of Thrones/Avatar/Battleship/Avengers etc which I'll be sharing some of the content also here)
A day in the life of the VFX Supervisor - This segment we cover what to do on set, as a VFX Supervisor what we do on set, the politics and all the ins and outs. This will be a great crash course into working on set!
Shooting HDRI - A crash course into shooting HDRI's and the rigs involved, the process for stitching and tone mapping, and gaining a solid understanding of how to build them.
Camera Tracking - This is another crash course into Camera Tracking, aimed at understanding the basic fundamentals of tracking shots and what's involved.
Grading - Grading shots is an art in it's own. As a colorist, we're tasked with controlling the look and feel of a shot through choosing the colors to control mood, and really push the colors and contrast of a shot, or tone it back for a more cinematic feel. Having a good understanding of grading raw DNG frames as they come in from film, as well as doing our final grades for film-out is a really great understanding to have, even if you don't plan to typically touch on this area.
And So Much More...

"This course is for everyone fascinated with Visual FX!!!!

I am an architect by trade and I guess that's where I began with 3D modeling. I've done accident reconstruction visuals for civil lawsuits which is where I first learned about Allan. (trying to recreate a vehicle explosion) But now I'm an aspiring filmmaker who would like to add production value to my independent projects. There is no better way to do this, than to be able to add Visual FX.

If this course can teach a novice like myself how to learn particle simulations, as well as to create tools that will speed up your work 10x fold, then it can teach it to anyone determined to learn and with some basic knowledge of the modeling software (3DS max).

In essence, Allan clues you in on some of his magic settings and efficient workflows that will have you creating Visual FX in no time. All this while teaching you how to customize 3DS Max so that it behaves as if it was specifically programmed for your individual tasks.

Mind blowing, and amazing!!! It would take years and years to gather this knowledge all by yourself!!!

The best course I have ever taken and one that will position me ahead of 95% of the curve!"

Luis Sinbaldi

Legacy Entertainment

Want more info?

So here's the deal - I kind of on a whim hit record and started recording a video giving a bit more info on everything - it's LONG but I felt like I should just share a bunch of info, without really planning what I was going to cover. This was after answering 350+ emails last night and another 76 this morning so far.

SO if you want to hit play and listen to me dribble on for a bit - hopefully you find it informative! :)

-Allan McKay

FAQ

Question

Answer

Question

Answer

courses can be subject to change.

"Depending on the traffic source, we average about $80 to acquire a customer."

Boom - I'm pretty sure he was going to be impressed.

Then question #2 came out:

Second) What's your average cart value?

Huh...? Cart Value? What's that mean? Why aren't you asking me about my conversion rates?

I had never heard of that metric before.

"It's how much money you make on average, in the cart (including your upsells, downsales, etc...), when someone buys your product." he said...

Now, that was a metric in our funnel I had never looked at before.

So I went back to the drawing board, started crunching our numbers, and figured out that our average cart value was ONLY about $32.

"Well, that's your problem - you're conversions might be awesome, but your cart value sucks. Get that up, and you're back in the game."

Hmmm... I had never thought about cart value before. How could I increase that?

Adding more upsells...
Adding a downsale...
Adding exit pops...
And more...

Where else could I add in things to increase my revenue?

As you can guess, that put us on a new mission.

At the time, we only had 1 upsell, and while it converted great, the dollar amount didn't get us even close to break even, let alone a profit.

So, we changed the first upsell, and did a bundle pack that sold 6 bottles.

We created another product for a second upsell, and then a third.

After we had everything in place, we turned the traffic back on.

We already knew it was going to take us about $80 to acquire a customer... but how much now would we make immediately, in the cart, from each person who bought?

Within hours, we knew we had a winner. We were averaging about $163 cart value on day #1 (before any follow ups went out!!!)

Do you know what that means?

$80 to acquire, and we immediately, point of sale (in the cart) make $163 back out!

$1 in... $2 back out!

That's the formula for a winner!

Now all we had to do, was add more traffic, and watch how fast we could scale this offer.

And the results were awesome.

Within a month, we passed $100k in sales.

Within 2 months, over $300k.

And by month #3, less than 90 days after making those changes, we had passed the $500k a month mark!

So, next time you start to build a funnel (or you're trying to fix a dead funnel) - remember these two metrics:

1st - what does it cost to acquire a customer?

2nd - what is your average cart value...

If you can get those 2 numbers right, everything else will take care of itself.

Russell Brunson

CEO www.DotComSecrets.com

Q&A About This Course

SOFTWARE - WHAT SOFTWARE DO I NEED?

This course focuses primarily on your CORE INDUSTRY STANDARD TOOLS - 3DS Max (free), Nuke (free), Houdini (free) and Thinking Particles and FumeFX, and V-Ray (optional, you can use Scanline or Mental Ray).

We do have an amazing deal for FumeFX which is a non-commercial license for half price and some other great stuff going on. So as I always say "if you buy a Photoshop course, you don't expect a free copy of Photoshop to come with it" but I am working on some amazing gifts and other goodies - talking with RED, Blackmagic and also many software companies too - so more will be unveiled soon but for now nothing I can talk about.

Thinking Particles Update

Most of the amazing deals and things we will have in 'LAS' will be announced later. But Cebas has graceous enough to offer us a special deal on their Thinking Particles 6 EDU (not for commercial use) - where as part of the Live Action Series we can get a TP6 EDU license for $99 for 3 years (provided we sign up at the beginning of the course). This will be arranged once signed up, Cebas and myself will validate everyone after the course commences. Awesome!

This sounds like a lot! What kind of hardware will I need to run this?!

One of the core areas I want to focus on is really building an efficient way to work, so if you saw the free training videos I sent out we focused an entire 3 hour lesson on creating a 'hyper-efficient' destruction pipeline, that literally only uses what it actually needs to in a simulation and constantly grows and shrinks based on this. Way before we even do any destruction, we build a system that (minus the glass) takes about 30 minutes to calculate and cache. Because we put in the time to plan ahead and put our effort where it's most needed.

Same goes for every area of this course, I want us to plan our shots and learn where to put attention and where not to waste time or render power that isn't going to get noticed. So optimization is a big part of this course, having solid workplace practices. Because of this I think hardware isn't going to be as bigger deal as it might sound. Yes I suggest a minimum of 16gb of ram (we have people already signed up with 8gb, you can do it, but if you want your work to really look amazing, don't cheat yourself out of RAM. Memory is cheap - even my laptop has 32GB these days.

But RAM is probably the area I think that is most critical. Video card isn't really all that important as we're doing simulations on the CPU most of the time and CPU - as with anything, the faster you have the better, but RAM is the only thing that is going to be something I suggest getting at least 16gb of RAM if you don't have enough yet.

If you're looking for buying a computer or upgrading specifically for this course - shoot me an email and I'll suggest some specs.

What's the deal with live review sessions?

Those of us coming from the FX TD mentorship will be familiar with live reviews, where every 4 weeks we join a live members only webinar event where we all interact, and show our work in progress work. Allan reviews each person one at a time and gives feedback and advice on how to improve the shot or critical things to work on. This comes from the film industry where we typically do 'dailies' where the Director or the CG or VFX supervisor will review everyone's shots and request changes. This has always been such a valuable and influential experience, as getting direct feedback from an experienced artist has always been the most impactful time to shape our skills and improve our work. Not only that, but this is a chance to ask questions or show problems you might be running into and get help fixing these issues.

The best part is - we go through this as a team, which means we all get to see each others work, and cheer each other on and encourage others as we go forward, or help answer questions or share information, links and other resources, it really is the most valuable part of the course, having this camaraderie as we conquer every step of the Live Action Series together.

I live outside of the USA - what time are these live review sessions held?

Typically once you sign up, we all submit times that work best for us, and we are able to work out timezones that fit best with everyone. Seeing that there is an international crowd of people in this course, on the day of the reviews, we have two sessions, one early morning and one late at night. This way no matter what timezone you're in, there will be a session that fits within your schedule. And some people, who are really ambitious and love participating sometimes hang out at both!

Do I need to speak in these live reviews? or what if I don't have anything to show?

Another important aspect is if you're not too confident in this area and don't want to speak out loud, you're more than welcome to use our chat room which is part of our reviews, so some people who maybe aren't confident about their English or simply don't want to talk, or they're at work so they can't speak - simply use the chat feature to type their questions or post their work. Whereas we also have the ability to use webcam too, for those who are the opposite! But either way there is plenty of options here to fit all of us and make it easiest for us to participate.

Lastly - if you don't have anything to show, feel free to log in and listen. There are plenty of people who show up just to watch and see what everyone else is doing if they don't have anything to show at that particular review. This is totally fine and encouraged, it's better for you to be there than to miss out, and it's very inspiring seeing a lot of the other artists work, as well as a lot of great knowledge and information shared at every session.

How much time do I need to make the most of the Live Action Series?

The reason this course is spaced over a large amount of time is so we can comfortably keep on top of everything without fail.

I have been part of courses in the past where we try to do '8 week courses' or similar, and I feel like just as we get to the good stuff, it's the end of the course. What I wanted to build is a course where we can grow over time and improve but also keep up, rather than feeling overwhelmed. So this course each term is spaced out very carefully so things aren't too overwhelming and we can put in the needed amount of time to really make our work look great. As well as do live reviews and see how we can improve our work and go back and make those changes. This has been a very critical part of the design of the course - to ensure we do have time, even with family, work and life commitments.

What I really love about this is a fully immersive training environment. In other words we not only have dozens of videos and additional training that we can go to, to keep up - but we also have live chat room, private Facebook group, private members only forums, as well as live webinars and other events where we are all able to interact with each other. The great part of this is being a part of it all isn't difficult, by having a fully immersive training environment, we don't need to be logged in watching videos to be a part of the experience and learn or ask others - we're making friends, networking and being a part of the experience with minimal work, which to me is the best way to learn fast and grow.

If you can spare at least 2 hours a week, you'll be able to make the most of this course. The more time you put in, the better, but a minimum of 2 hours every week is important. If you can't spare 2 hours each week, then I suggest maybe this course isn't right for you, or at least right now until you're able to free up a bit more time.

One thing I find is sometimes life happens, we all get there, and so we can fall back behind a little, but it's fairly easy to catch up again when our time frees up, so never feel stressed that you are behind if that is the case, just put in a bit of extra time and get back up to speed, we're all here to help each other, and that makes this environment really great for keeping on track is that we are all going at our own pace but we're all helping and motivating each other.

FXTDT2017 Students - "I'm still going through FXTDT and wonder if I should do the Live Action Series as well?"

So I have said to a lot of people that if you feel comfortable with where you're at with the course, go right ahead. I honestly believe a lot of what we cover in the mentorship we can also apply to LAS too. so while we work on live aciton FX shots, we can introduce a lot of what we are doing inside of FXTDT.

However, if you are struggling to keep up with FXTDT currently, my suggestion is to wait out the Live Action Series, and just focus on FXTDT for now. I would rather you stay on top of the mentorship, than take on too many things and then not get anywhere. So completing the FXTDT mentorship is much more important for now, before you move onto other things. However if you feel you're up for the challenge, I think this will be a powerful combination!

What would you suggest is the best advice for doing the Live Action Series course?

My best advice is to have an end goal. Whether it's to break into the industry, or to step up to supervisor level, or move into a different area of CG, break into freelance, secure a fulltime job, set up your own studio or make your own film. Whatever your goal is - have a clear goal before you start so you know where you want to go with the course, and also I know what your goals are so I can help you the best with moving forward.

By having a goal and knowing where you are now, you can measure your success as you move forward and also know what direction or where to focus to really get there. Whether it's getting a new reel, or focusing on core areas you need to work on and better yourself, whatever these are - setting these goals now not only will make it clear to you and guide you throughout the course, but you, and all of us can look back afterwards at how much we've grown throughout this time and where we are at a year from now.

Think forward a year, do you want to be where you are right now, or where do you WANT to be?

Set a clear measurable and actionable goal, and let's get started.

If you are struggling to really come to terms with exactly where you want and need guidance. Talk to me, that's what I'm here for.

Will this course work for me if I'm not yet in the industry/still a student

I love that we do have a diverse group of people in the FXTDT Mentorship as well as in the Live Action Series - Some artists have worked for Blur, Atomic Fiction, DIGIC, Weta, I could go on and on. So we have a good seasoned team of artists and technical directors in the course, but there are also others who are just starting out. and the most common thing I LOVE hearing, is "I look back at where I was 3 months ago and how much I've grown even in that small amount of time" and "at the beginning it was exciting, and what makes me excited now is I really feel like 'i get it' I can see where you're heading as you talk through the lessons and it really clicks". This is why I feel by making such an immersive course, that is very ambitious and very advanced, but explained thoroughly enough, with such a supportive enthusiastic group as those already signed up for LAS, it's going to be straight forward for you to follow, even if you aren't yet in the industry, this is the course that will get you IN to the industry.

But in addition, this is why I offer a 30-day guarantee. Try the entire course, and if you don't love it, send an email, show me you've done the exercises, and get 100% refund. No catch, no tricks.

I'm looking for a new job will this help me?

Yes, by even half of the way through the Live Action Series you will have an entire sequence of FX shots shot professionally shot on industry film equipment straight from any Hollywood film. Your shots will reflect completing a real sequence of visual effects shots using all of the latest techniques and approaches, demonstrating not only you can work on a visual effects shot, but you can take multiple shots through to final at the highest quality, as well as lighting and comping your shots and demonstrating many other skills.

You won't be just showing you can do FX, you'll literally be demonstrating every single step of what an entire VFX team does every single day in production.

CERTIFICATION

Upon completion of this course you will receive a Certificate of Completion, representing that you have gone through the entire 12 months of training and what subjects were covered. This is something not all of us need, but can be important to some of us to have. Simply request the certificate at the end of the course for it to be sent out to you.

Reference Letters & 'The Whitelist'

During the mentorship, because of spending an entire 12 months working directly with Allan, it's not been uncommon for students to reach out and request a reference letter from Allan to attach to any job applications or positions students were applying for. Provided you HAVE been participating in the mentorship and showing up for reviews, Allan was always happy to write up an honest assessment of his experience with that particular student on his studios letterhead to pass on.

The same applies in the Live Action Series, provided you are participating and showing your work, communicating (ie. Allan knows who you are from showing up to reviews) Allan is more than happy to continue with this, and offer a letter of recommendation to students who request it.

More so, Allan has created a 'Whitelist' for students who do exceptionally well. These are the rockstars of the course who are demonstrating hard work and growth within the course. These students Allan will personally reach out to studios and recommend them, as he builds up his Whitelist of students of exceptional capability. When Allan is offered work he is too busy to do, this is the list he wants to be able to turn to to recommend artists directly to these studios.

Lifetime Access

When you sign up to the Live Action Series, you gain access to the membership area FOR LIFE. That means that you'll always have access, nothing will ever expire. You'll be able to participate in the Forums, Private Facebook Group, have access to all of the videos and everything else FOREVER. Live Webinars may be a different story as there are limited seats when signing up for the course, and it would be unfair for people next year to sign up and not get enough attention because the same people have been going to the webinars exponentially for the past 5 years! :) But just keep in mind that you'll always have a home inside of the course, and one of the things I'm most proud of is the fact that there are so many of you that are students for life, that have been doing this training for the past 5-10 years as I put it out, and continue coming back time and time again. I love the dedication, and I love seeing all of your skill-sets grow each time.

I want it to be easy for you to get started

That’s why I’ve created a no-fee payment plan, in addition to my unbeatable money back guarantee.

Not only will you have twelve full months to complete the entire course — but you can get started for just $197. Then you’ll pay just $197 a month for the next 11 months (12 total payments). That’s just about $6.30 a day.

And frankly, any one of the lessons could make you 10 times that before your second payment is due.

So you’ve got a decision to make. Are you going to go it alone, or worse, hand over thousands of dollars and the future of your career to a complete stranger? Or are you going to give yourself every advantage with a proven training experience that has helped tens of thousands of artists reach their dream career, salary and goals.

Let me know.

Just remember, Live Action Series closes to new members soon. If you’re interested, you need to act now.

Over a 40+ week course! You will be mentored every week by Allan McKay on many advanced subjects, initially learning the ins and outs of MaxScript and how it can benefit you and your studio, but also how to think like an artist but view everything you do with this question "Can I automate it? Can I build a tool or make a pipeline around this process, to make my life easier, and how can I save time doing this by building a couple of tools to build around these typical tasks I need to do to give me total control?"

There is nothing else out there like this, you are welcome to look!

What makes this course so good is that you are being mentored by an 'Autodesk Max Master', Oscar nominated VFX Supervisor, who has been involved with movies such as Transformers 3, The Last Airbender, 2012, Superman Returns, Flight, Blade Trinity and upcoming Warcraft the movie and The Equalizer.

Sign up "TODAY" to secure your spot. TD Transformation sold out in under 2 weeks, and this time around there less than half the seats available as this is a much more hands on and interactive course designed to interact on a more personal level with all students! Seats will fill up fast, so get in before the course acceptance closes!

30 Day Money Back Guarantee

FINALLY! This course has a 30-Day money back guarantee. That means that anytime during the first 30 days of signing up, if you don't feel it's right for you, no problem. Shoot me an email and you'll be fully refunded. I take all the risk, so that you don't have to.

Quick note about the course

Here's the deal. I've been listening to what everyone has been asking for, And what I've learned from holding courses for over the past 10 years - what this course is - is a chance to have interactive sessions with myself, and work with other FX students who want to substantially ramp up their career and skills as well. Become accountable and push yourself further, gain a new ability you can use to better your career and gain both stability as well as position yourself in a way that you no doubt will have the upper-hand when applying for work at studios, as well as literally give you the keys to go out there and set new goals without any limitations you might have had before.

More so,this course is designed to do actual shots, one of the killer road blocks people experience is "must have feature film experience". Firstly, that's B.S. if you're good you're good, one of my closest friends is the director of animation at Weta, didn't have more than a year of feature film experience going there, if you're good you're good. But the reason that filter exists is because they ARE concerned if you can actually sit down and start knocking shots out.

By even a 3rd of the way through this course you'll have transformed the work you've done so far, and have completed feature film quality shots that you can put in the face of any hiring manager or supervisor and say "I can do this, here is proof" - I've discussed this with other supervisors recently which we all agreed if you can even show a single finished shot that shows you can do the work, without a doubt we would hire you. By being able to show consistently you've managed to do sequences of shots, at the highest level, and you not only did the FX but rendered, lit and comped it all BY YOURSELF, I'd be more concerned you're gunning for my job.

The course launches January 22th, When you sign up for the course you will be supplied with a course schedule, which contains dates of each module's release, and our online get together live classes, and other upcoming events. Keep this with you, as in addition to all of the typical interactions, homework and reviews we will do, these will be the big fun sessions where we all get to hangout live and go over what we have done, Allan will answer questions and show you many cool ways to improve on your effects! This content is priceless!

With the January 22nd starting date.. this is your opportunity to secure your spot before anybody else,It's more than likely it will sell out before January 12th, so seats are first come first served.

I look forward to seeing you in the class, and I look forward to frequent reviews with all of you as I push your work,your skills and really journey with you through the next 52+ weeks!

-Allan

30 Day Money Back Guarantee

There is nothing else out there like this, you are welcome to look!

What makes this course so good is that you are being mentored by an 'Autodesk Max Master', Oscar nominated VFX Supervisor, who has been involved with movies such as Transformers 3, The Last Airbender, 2012, Superman Returns, Flight, Blade Trinity, Game of Thrones and dozens of other big Hollywood feature films.

BUT - to make it easier, and to lower there being any risk - if you're not happy with the course within the 30 day period, simply shoot us an email and receive a complete refund for the entire course. As long as you can show that you've done the work and have been participating, there's absolutely no problem you decide the course isn't for you.

Sign up "TODAY" to secure your spot. Last year, The Live Action Series sold out in under 2 weeks, and this time around there less than half the seats available as this is a much more hands on and interactive course designed to interact on a more personal level with all students! Seats will fill up fast, so get in before the course acceptance closes!