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is “flat view” on for whatever reason?
while I’m not completely sure, I believe the answer to all your questions is “no.”
That’s a solid list, here’s some notes from my own experience.
2) Even in uncompressed formats (film scans, Genesis footage) blue is the noisiest channel. I default to green across the board unless there’s a reason to not use it.
some of those reasons are:
– have blond talent
– want an overall darker but still nicely exposed screen (green carries more luminance than blue)
– green spill is uglier and more noticeableHaving learned much of that the hard way, it’s a good guide.
I know the two things I keep most to heart on set are that the 1st AD is almost always the person to go to, and that even if you feel like a jerk to get something you need (thus holding up shooting for 5, 10, 15 min…), if you need it, you should get it. Beautifully shot, under budget, on-time shoots don’t mean jack if the VFX are crap at the end.
probably just forgot to renew the URL like myfirstflame :p
just found this at the Area:
Due to a hardware failure, all systems news groups including Flame-News, Smoke-News and Lustre-News are down.We are currently addressing the issue in order that the newsgroups be brought back up as quickly as possible.
Note that access to customer support is not impacted and should you require any assistance, please contact your local Autodesk Media and Entertainment Customer support representative.
Customer support is also available through your Autodesk reseller or consult the Support web site at: http://www.autodesk.com/support/Sincerely,
The Autodesk Media and Entertainment TeamResize is what I use.
I used to use actions if I was doing pan-and-scan type extractions, but now that resize can do translation it’s a one-stop shop.
The circles are likely non-circular due to the pixel aspect ratio of SD. If you go into the player and flip on the “aspect ratio” button (i forget what it looks like, it’s been a long time since i’ve used it) your circles should be correct again.
the “Keep Aspect” button keeps the image the same and as such it should be left on. I think if you’re starting with square pixels it doesn’t matter, but for SD or scope it does.
In a weird way the word “operator” carries more weight than “artist”. Anyone who is convinced of their own creativity can self apply the term “artist”, but “operator” indicates an actual skill.
But at the end of the day, the label’s moot. People either like you and your work or they don’t.
It’s not glamorous, but I usually have the editor give me EDL’s per video layer w/o fades and conform using an action, usually in a batch that adds all relevant effects and color.
Depending on the needs I’ll either work on the layers directly, or break out each shot individually.
I’m certain there’s a better workflow (possibly batchFX, which I have to admit I tried once and didn’t see much use) but for a 30 second spot with a decent amount of effects, taking an extra couple hours to do the conform by hand isn’t backbreaking. It does suck that you have to effectively re-render everything, but depending on the shot, that may or may not be an issue.
My alternate method is to do a desktop conform (using desktop fades and the like), making individual batches for each clip and then using the “swap shot” button to put the renders into the conform, which it sounds like would be more useful to your needs.
@Xavier 28128 wrote:
You mean that doing a pack shot on a box of laundry detergent is not art!?
🙂
— X
Haha. Maybe we are all the eventual vision that Marcel Duchamp had when he was thinking about ready-mades. I suppose in that context it’d be fitting.
I go between both terms. I tend to refer to myself professionally as a “Flame Artist” and personally as a “Flame Op” which has more to do with how I view the term “Artist” than any indication of my (or others’) creative potential.
I realize it’s industry standard to refer to anyone remotely competent with a given software as “Artist”, but I have a hard time with the idea that what we all do for a living is even remotely similar to what Picasso, Michelangelo or Klimt was up to.
I remember trying something similar to no avail. I had hoped some combination of eval expressions and linking would work, but my expression skill’s somewhat limited.
you could always do exactly what the matrix crew did and put 100 or so cameras around the particles and render out each frame individually and cut them together.
hardly a nice, computer friendly solution, but it would work.
You can use a gmask in an action to wipe stuff. Far more customizable than other options while not being all that more complex.
@Tonfa-Ho 27882 wrote:
I don’t understand why you would say that, specially in relation to Color. It is no Da Vinci but it is definitely professional. This is the reason most FCP editors can’t handle it. Color use to be a high price stand alone application before Apple bought it. If you can’t afford Da Vinci, Pablo, or Lustre etc, there’s not much out there that can top color.
Maybe I was missing something, and that’s entirely possible, but when I was trying to get it to do basic things like curves it was failing horribly. Things I have zero trouble doing in AE, Photoshop, Combustion, Nuke and Flame were not behaving even remotely closely. It couldn’t manage to clamp blacks, the tracker wouldn’t attach to a gmask, I had almost zero success with the week I spent reading the manual and doing tutorials. Could be I’m completely wrong about Color. It’s definitely possible.
That being said, I still maintain that Apple’s indifference to Color and to Shake is proof enough that they’re not interested in pursuing professional grade apps. Final Cut was a huge hit for them, but I feel like acquisitions like Color and Shake were just ways to say “Don’t abandon us, we’re serious about pro apps”. Four years later, I don’t see it; I’m looking over at windows machines with 64 bit versions of Maya, Adobe, Nuke and most everything else yet Apple can’t even bother to upgrade it’s own in-house software to utilize the enormous amounts of RAM you can put into a Mac Pro. Even Linux machines have more 64 bit graphics apps on them.
I’d love to be proven wrong. I’d love to have a reason to upgrade my Shake license or boot up Color again. In the back of my mind I’ve got my fingers crossed that this NAB (or adjacent Apple event) is the one where they bring apple pro software to the forefront.
Guess we’ll wait and see. If I have to eat crow, I’ll do it gladly.
Object ID layers from something like an RPF file don’t come in natively to flame. You can render out RGB passes to get three mattes/objects into one image file, but flame only thinks in RGB and doesn’t have the abilities to read embedded passes the way something like Nuke or Combustion does.
I just tried to register (thanks for the link) and Autodesk locked my account for 24 hours after two failed password attempts.
My bank account is more tolerant than that.