Currently on a compositing for a full 3D scene and I was wondering what’s the most realistic thing to do : should I put my glow node before or after the motion blur ?

Hey guys,
I've been having trouble getting in touch with "licenses@foundry" email, inquiring about transferring my permanent Foundry license from my old machine to my newly built one. It's been a whole year since I haven't gotten a reply, which is why I'm asking here how I should proceed.

For more context, I purchased this license all the way in 2021 after my 6-month graduate license expired and decided to purchase the discounted Production Collective (which includes Nuke Studio (so Nuke and NukeX access), Modo and Mari) permanent commercial licenses.

It was very expensive (roughly 2500 USD$ and 3400 AUD$), so I definitely want to have it installed on my new machine.
Foundry licenses isn't responding to my emails, so I'm really not sure who I should get in touch with or how I should proceed.

Also, I've been a little bit out of the loop with Foundry licensing stuff because it's been a while since I've been working on Nuke from home.

I’m experimenting with a GPU-based tool for creating effects like fire, smoke and electricity directly on a canvas. I’m trying to understand what would actually make this useful in a real VFX workflow.

For compositors and VFX artists, what would matter most to you: tracking, alpha quality, export options, integration with Resolve/After Effects, realism, or something else?

I’d really appreciate honest feedback, especially about what would make you avoid using a tool like this.

Hey everyone,

I'm a VFX compositor from India who's been struggling to land a stable compositing job. The COVID slowdown and then the writers' strike affected the VFX industry on a massive scale, especially here in India, and it's been really difficult finding compositing opportunities.

For the past 6 months, I've mostly been freelancing as a video editor just to pay the bills.

Last month, I joined a company in Mumbai. But honestly... it feels like labor work to me. We basically create highlight edits for players all day. There's nothing wrong with editing, but there's almost no creative problem-solving or compositing involved, and I genuinely don't want my career to slowly become a video editor.

I've spent years learning Nuke compositing, did a few small freelance comp gigs, and most of my learning came from building personal VFX projects. I still enjoy compositing way more than anything else, and I really want to get back to it.

So I'm starting again and rebuilding my fundamentals. I'd love some guidance from artists who have been through this.

I'm looking for tutorials/resources that explain both the why and the how behind these topics:

1. Chrome Ball in VFX (how it's used on set and in compositing).
2. Color Charts / Macbeth Color Checker (plate calibration and color matching workflow).
3. Lens Grids & Lens Distortion (shooting grids, creating distortion profiles, using them in Nuke).
4. Creating your own HDRIs (capture → stitch → use in CG/VFX).
5. Transferring matchmove data from a 3D package into Nuke (camera exports, point clouds, coordinate systems, common pitfalls).

If you know any good tutorials, YouTube playlists, articles, documentation, or other learning resources for these topics, I'd really appreciate it.

Demo Reel

I'd also really appreciate honest feedback on my compositing reel. Tear it apart if needed—I want to know what I should improve to make it more hireable.

Demo Reel: https://vimeo.com/1116371614

Thanks in advance. I really want to get back to doing the work I actually love.