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Yep…no problem at all opening up the archive. The only thing you can’t do is add to the older archive. You’ll need to create a new archive.
dg wrote:Haven’t been there, but I doubt, if they had shown something you probably would be hearing something about it 😉A friend of mine was there and he haven’t told me anything about Toxic or Mezzo.
Cheers,
dgToxik indeed was shown at NAB, problem is that anyone who saw it had to (or was supposed to) sign an NDA. So they can’t talk about it publicly.
Just have to wait and see — looking forward to the Siggraph rollout….
tomas wrote:Hi
I am beggining with an HD project. It is the first one we make. I wanted to know if there is a way to filmcompress material recorded at 24p.Well, if you mean film expand, then yes, most certainly. This is useful if you are doing a 1080i project. If you mean film compress — there is no need to do so if you capture your material at 24P (or 23.98). Just create your project at the correct setting…..
fredocs wrote:Hi,
And so, I wish to know if Inferno can read the XML files.Well….not now, but maybe in the future. Discreet announced support for Final Cut Pro XML files — but who knows what that means. There are so many technical issues in dealing with converting effects back and forth between products (just take color space, for instance) that this has always been a problem.
Hopefully, we’ll see more development in the AAF and XML arena than we’ve seen in OMF.
Quote:The mac test is very unfare compared to the PC and SGI machine.it’s a laptop with less memory and only one processor.C’mon eltopo, your bias towards the mac platform seems to be clearly clouding your judgement and really seems to take away from the value of all of your other posts. Don’t get me wrong — I love the mac –all of the personal systems I own are Macintoshes. However, I’ll be adding a PC to the mix soon…just makes sense from a professional standpoint.
But unfare (sic)? What are you talking about? The tests clearly state what hardware was used — nothing is hidden at all. And the powerbook test is really useful, considering the idea that it is a great device for on-set work:
MAC: macintosh G4 17″, powerbook 1ghz G4 CPU with 1GB of RAM.
PC: Dual Xeon 3.06ghz Hypertrading with 2GB of RAM and a nvidia quadro4 980XGL.
Flame 8.3.1 on an Octane dual 400mhz with 2GB of RAM.Quote:however it still manages to male very decent times.Yeah…the times in general are not bad and I’m glad to have the resource. ,But 8X, 6X 10X, 6X, and 9X slower than the (very fast dual PC) aren’t that stellar.Not as bad vs. the flame, but stil…..
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If you’re talking about flame/inferno……
If you don’t use the shape channel you can use expressions to link the two items.
One of the big changes is the addition of scan mode (F1/F2/Progressive) which is part of each clip. This allows all clips to play back correctly in the player as well as enables easy HD to SD downconverts.
But it also introduces some changes in workflow…..check out the scan mode tutorial in the flame tips section.
No….sorry. The layers show the name of the front/matte clip and nothing else — its not part of the action toolset (and I guess with the UI, no space either).
dazman wrote:❓
Does anybody know if it’s possible (somehow) to rename your layer’s in Action….. not the image node in the schematic but the layer name in action whilst it’s actually in Action? Renaming layer’s in ‘other’ packages is easy but is it possible to rename a layer in Action?Cheers.
ps. other’s here say ‘NO’ but it’s worth asking – thanks.
Well, actually Toxik (with a “k”), is discreet’s next generation product that has been in development for several years now. It was shown at NAB two years ago and is scheduled to be shown in April of this year.
We have a couple of articles about it…..
Re: batch timeline
Actually, I find the batch timeline to be quite useful….I presented a section at fxguide live at NAB last year regarding this. There are tons of different types who work on inferno, as well as different types of projects being worked on. I do mainly TVC work, so there are times I’m loading EDLs and capturing footage. The next step is to confirm that everything matches with the avid work picture. In batch, it is so easy to set things up to allow you to interactively monitor (mix/wipe) the work picture and slip the assembly. I’ve gotten used to making adjustments in batch since it is so much easier to do at times than using the edit reel.
The editing in batch is also useful for interactively editing clips which are used in nodes and not having to exit batch. Its wonderful to be able to slip and slide edits which are layers without having to leave action/batch. Or adjust timewarps on clips.
It would be cool to pipe batch outputs into soft edits so that a edit is made up of scenes which are actually batch setups. Maybe the clip history which was shown at NAB can fit in with this.
There are certainly issues with editing in batch (such as the idea of local time in a shot and overall time) which could be improved. And there is also a bit of management that needs to be done when working with clips in batch. Hopefully this stuff can be improved in future releases.
Hmmm…maybe a feature/tutorial about batch timeline editing is needed…
First off, I mainly do work on national spot commercials. The answers to your questions will certainly vary based upon the work being done.
1) Does a compositor, i.e. flame/combustion artist, shake artist, actually do alot of the actual ‘effects’, (like particles, unique effects) etc.. and solve problems creativly, or is it just integrating live action w/ CG?
It really depends upon the situation in which you’re working. A lot of time, I’m doing experimentation and problem solving. Sometimes, due to workload, I’ll offload it to the 3D artist or someone else. So yeah…there are times I’d create a wall of fire.
2) What is the career like, is it fun, boring, daily grind? Do you really have to sit in a dark room all day? What are the typical tasks day to day?
Well…its not really dark. And I’ve got windows. But that is certainly the case in many situations.
3) For example, on a commerical, are the cool effects mainly done by compositors or some other position? I’m basically looking for the position that creates those unique effects.
It is a combination of 3D artists and effects artists (and practical effects shot on set).
4) What positions can compositors generally move up to? is TD or vfx supervisor something that one can step up to?
Yes….most certainly. But it depends upon where you’re working. For instance, in Chicago where I work there really aren’t a ton of openings for vfx supervisors.
6) Do compositors have much creative freedom to fashion the look of the effect? In a commerical, for example? Do they have freedom to come up with creative solutions to the effect rquired?
Yes. Yes. Yes. But in the end, the client can have a large say in how the effect turns out. There are times when the effect that ends up in the commercial is not the one that ends up on your reel.
If you’re using Action to generate 3D text, the way to get the cleanest edges is to create the text at a large size (such as 300 or 500 depending upon the resolution of your action setup). And then use the axis to scale it down.
You will definitely need to render with 16 samples to get the cleanest possible edges.
This was just posted today on another mailing list:
Looking for London based Freelance Flame artists.
If you have 3 or more years experience then please send your CV and other
details to [email protected].No agencies please!!
Chris
Just export from After Effects as targa files with an alpha (sorry…can’t remember if pict files work)….
Sorry…we’ve been doing some behind the scenes things and messed them up.
You can find the tip here: