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It would be pretty icky in Smoke, would just be like converting to 12-bit and importing. But in Flame you could use it in Batch and have on-the-fly exposure control. ‘ Course the HDR-ness wouldn’t propagate down the tree which is what one would really want. Wishlist for version 8/10 😉
No, it’s not. The best you can do is 12-bit fixed point, by using 16-bit fixed point files in Photoshop, SGI or TIFF format. On Linux, you’re limited to 10-bit fixed point.
Hey, you know, I should do an OpenEXR import Spark with exposure controls… would that be useful for people? It would have to keep the data in the filesystem, not on a Stone, so would be a bit crappy for long sequences…
Silly… in the UK “arse!” is used a general expletive, as in, “bugger!” or “crap!”, I don’t think he meant that about you 😉
Loved Johnny Depp in that.
What you said sounds about right from what I remember. If you can’t find a canned effect that does the right kind of distortion (it was a bit like heat waves but more… watery wasn’t it?) then you can use a generic displacement Spark, Sapphire Lens will do it, or you can even use Action’s built in displacement stuff. You might not be able to get away with displacing in a single direction, so you can do it twice on two different axes (not quite the same as true 2D displacement but works). The tricky thing then is finding a displacement map 🙂 If you’re staying inside Flame you could play with particles and turbulence… probably for hours…
I remember thinking that the animation of the skeleton pirates climbing the anchor rope really sucked, it was all smooth, no physics. Johnny Depp’s hairdo more than made up for that though.
Yes. Yes they will, if you like trees that look like mutant spiders and controls on a billion different pages, histograms and vectorscopes hidden in different tabs and generally about ten times as much dicking about as is required to just grade the damn picture already 😉
Does force you to understand what’s going on though, and the lack of explicit control over the order of operations in more artist-oriented CC tools can trip you up sometimes.
Combustion’s color corrector is pretty okay. To do secondary corrects you have to team it up with a keyer or some masks, but that’s not really a problem. Using Automatic Duck or similar you should be able to take an FCP edit and correct shot-by-shot with the edit operator.
Shake’s colour stuff is flexible and deep, yeah, but rather a pain to set up and use unless you really know what you’re doing and exactly what you want.
It could be worse. I suggest you holdout the seatbelt in front of the ghost, even if that doesn’t quite make physical sense, it would help the integration, that or take out the belt completely 😉 If you want a similar look to the other ghost it’s a pity the new one is wearing such lighter clothes, and a pity that the pattern on the seat is so obvious, maybe darken down the central part of the seat to match the edges?
Also the distortion is maybe overdone or could go in the opposite direction, at the mo’ you’re losing a lot of his head due to that…
Maybe the glow is a bit much too, inside a car it would really bounce around and light up the door pillar for e.g., if it needs to match the other one it could maybe stay a bit tighter in towards his body and be harder, less of a fluffy halo look?
Well, criticism is easy… working out how to light things that don’t exist is hard – good luck 😀
You could always do the rotation by moving the four corners instead… easier if you’re matching something but harder if you need to animate the rotation I suppose.