For filmmakers · For VFX artists · For small studios
Deliver work that looks far beyond its budget — a single shot, a short film, or a client job. The Full Stack Filmmaker Framework™ closes the three handoffs where projects stall, without a big crew, a big budget, or years spent specialising.
Blender
Nuke
ComfyUI
Every hour you've practised made you better inside one craft. The place your projects stall is between them.
Getting deeper at comp doesn't move you an inch toward knowing what to shoot. Getting deeper in Blender doesn't teach you what a plate needs. The handoffs sit between the crafts — and in a studio each one belongs to no single department, so nobody has ever had a reason to teach them.
Anyone can learn a craft. The Full Stack Filmmaker Framework™ bridges the three handoffs between them.
Every course teaches one stage. Key this. Track that. Light that. But a film is the handoffs between stages — and the people who know them sit inside studios, where an artist only ever works one chair. It has essentially never been taught outside.
You've decided the project needs $50K. It needs shot design that's honest about cost. Some shots read as a hundred thousand dollars and cost nothing. Others look cheap and eat your entire schedule.
No stage. No cinema camera. No render farm. The bottleneck was never the equipment — it's that nobody showed you how to shoot with what you own so the footage survives the pipeline it's about to enter.
You know where the nodes are. You still can't stand in an empty location and know what to shoot, how to light it, and what you'll actually be able to finish. That's judgment, and it only comes from someone who has shipped.
Not slides. Not a demo scene built for a course. Real productions with real problems — and you get the actual footage, terrain, and assets from the hero project to work with.
Every budget level has its own strategy. You don't need money to start. You need to know exactly what your level can and can't buy, and how to punch one level above it.
Design projects around what already exists. Keep VFX-heavy work to a few hero shots. Make one shot film-level before attempting a film.
$0 to pocket moneyFind collaborators with adjacent skills who share the upside. Outsource only the brutally time-intensive work.
A few thousandIf you can film, supervise, do 3D layout, light, and comp yourself, you save tens of thousands. You only pay for assets, actors, and animation.
$10K to $15KThe same decision framework scales up. The judgment you build at level 1 is what keeps a real budget from evaporating.
$50K to $10M+Most people are stuck at level 0 believing they need level 5. The gap is judgment, and judgment is teachable.
The reason solo projects collapse is that people try to author every asset. You're learning the opposite job: composing the frame and deciding where each piece comes from.
With real understanding across all four disciplines, you choose the cheapest route that still serves the shot.
* Generated assets still have real limits today. They can't do everything, and we map exactly where they deliver and where they break down.
Each module lists a few of its lessons so you can see the territory it covers. The full breakdowns, exact setups, and case studies live inside.
Half of what makes hybrid filmmaking impossible solo isn't skill — it's friction. Every tool here exists because something was too slow to survive a real production. They come with the course.
Fast image planes, camera path helpers, proxy playback for heavy previs scenes, and virtual camera workflow add-ons.
Spot grading, object blending, projection tools, and LOD proxy management for building large environments that stay fast.
GPU-accelerated relighting and a set of compositing nodes that turn the slowest parts of hybrid work into quick, controllable steps.
Automated read and write setups, script management, EXR export helpers, and the glue that keeps a solo pipeline organized.
Once you can carry a shot across all six stages yourself, you know exactly what to hand to someone else and what it should cost. The skillset stays constant. Only the crew scales.
Taught by someone who crossed it
Alex is a Senior Compositor with credits on numerous feature films, at Weta Digital, Industrial Light & Magic, Sony Pictures Imageworks and more — then spent years building and finishing his own productions outside the studio system, with small teams and small budgets. This course is that second half.
Each one has been tested against a finished production, not an opinion.
"I need a real budget to make something that looks expensive"
TruthThe framework starts at level zero. Parallax, silhouettes, minimalist design, lighting that hides limitations — these are decisions, not purchases.
"I don't have the gear"
TruthOur productions were shot on ordinary equipment and finished on a single workstation. What decides the result is how you shoot, so the plate survives tracking, keying, and integration.
"I'm a compositor, not a 3D artist"
TruthNo modeling, texturing, or FX simulation. You're learning to assemble worlds — placing, lighting, framing, finishing. If you can light a scene in Blender, you're ready.
"I should wait until AI can just do this"
TruthThey produce pieces. They can't decide what a frame needs or hold continuity across ten shots. The person who can direct a shot end to end is the only one who can use them well.
Pre-order the Full Stack Filmmaker Framework™ now and get early access benefits that won't be part of the regular release.
Lifetime access · All future updates included
Pre-orders are for a course in active development; curriculum may be refined before release.
That's the exact problem this was built for. You need beginner Nuke and beginner Blender, and that's it. Everything after that is about decisions — and decisions are precisely what nobody has taught you.
Different job. Those teach you to build and render worlds inside a game engine. This teaches you to shoot a real actor and put them into any world — the live-action side, the on-set side, and the finishing.
If your films have people in them, that's the bridge you're missing.
You need beginner knowledge of Nuke, which is covered in our Nuke Beginner Series.
Beginner knowledge of Blender is also required, and you can get it for free on YouTube. We aren't focusing on modeling or texturing every object from scratch. We use Blender for world assembly, lighting, and materials. If you're comfortable placing objects, setting keyframes, lighting, working with basic shaders, and rendering an image, you can take this course. A few hours of free YouTube Blender tutorials (4 to 5 hours) and you'd be ready.
If you want to make your own projects with live-action footage, yes. Whatever you have can work, even if it's just an iPhone.
You can still complete this course without a camera, since we provide the plates — but the goal is to send you out to shoot your own.
No. ComfyUI is optional in this course, but we'll show some examples of how it can be useful if you want to use it. Some productions prevent generated assets from being used, so it's not core to this Framework.
For those examples we use ComfyUI Cloud, which is very simple, and we also show RunwayML as an alternative. Both interfaces are simple, and the workflows you actually need don't require over-complicated ComfyUI graphs.
ComfyUI Cloud does require credits, which may run $10 to 15 if you want to generate with it.
We use Beeble to generate normals. If you want to relight your own footage, you'll need a Beeble subscription for a month. However, if you just want to follow this course, you don't need to subscribe, as we provide the final output passes you need to practice with.
There are compositing lessons in Nuke, but this is not only a compositing course. This is a broad overview of crossing the production bridge from end to end so you can create your own projects. We solve bottlenecks at each stage, give you a custom pipeline and tools, and show the main strategies for creatively building shots. We don't cover basics such as camera tracking or greenscreen removal (those are covered in the Nuke Beginner Series).
As bonus content, there will be an overview of some shots from The Rider covering how they were built up in Nuke, for those interested in the compositing side specifically. This is not compositing the project from scratch, as that isn't the purpose of this course.
The course provides the hero shot assets from The Rider project: greenscreen plate, lava terrains, vehicle, and HDRI. The Rider is the hero project of this course. For example, we'll practice on some of the greenscreen shots from The Rider and round-trip them across the production pipeline.
We'll look at examples from the other productions shown above in relation to concepts applied on those productions, but those shot assets are not part of this course. They provide additional context on how the same principles apply to many different shots, and how you'll apply them to your own projects.
This course is primarily aimed at integrating actors on greenscreen into virtual environments, shooting the footage properly, and kitbashing and blending CG environments. CG integration (a CG object over live-action footage) is not the primary goal.
However, many of the same techniques are used in CG integration projects. This course is extremely useful even if you want to do CG integration afterwards. The scanning techniques, footage processing, creative and technical workarounds, and custom pipeline tools are all relevant and necessary.
Many principles in this course are also useful for Blender to Nuke workflows, including full CG shots. The goal with Full Stack Filmmakers is that you can work in live-action, full CG, or anything in between.
We'll be uploading the tools, pipeline, and assets over the coming weeks (ETA early August) for pre-order members.
No. The course is in active development, so module structure and lesson order may be refined as we reach near or finish production.
There is email support related to the course content, but we can't consult on or supervise your personal projects. If the question is directly related to the content as it applies to the examples in the course, support is available.
We don't offer refunds once you've purchased, as you have immediate access to the digital content we've created.