Forum Replies Created
-
Posts
-
Agreed 100%. I’ve mentioned to to anyone and everyone from Apple — it is really a shame. Must be all the metadata or something.
I always end up dealing with it using Terminal and access via unix. Not elegant or always practical, but at least there is a semi-workaround.
yeah….I’m not at a machine right now, but I believe there is only a shape channel for the deform nodes. It would be nice to have the ability to modify the individual points ala the bicubic…I think you’re stuck.
Of course, could be wrong….
You’re using the maintainance release, right?
It seems as though I remember there being some issues regarding recall of expressions at some point during the early 5/8 days, but I thought they were fixed. I haven’t run into anything regarding cascading expressions.
The maint releases are at discreet — ftp1.discreet.com/release
Because of the way batch works (right now), proxy settings are universal in batch and can’t be changed on a node by node basis. This includes action.
Proxy settings are universal and can be found in the batch setup menu. Hopefully this will change in the future.
If you are using flame, a great way to help workaround the halo problem is to use the MK and edge tool….you can isolate the edges using a color blend node and treat them separately. By making the edge blend soft, you can easily blend it to the foreground pass.
so then you have:
1. Your sky
2. Key your foreground back in, foreground made up of:
a. foreground pass
b. edge pass, which is a brightened color corrected dark sky pass
(the foreground matte would be generated from the darker sky pass)
[/list]A lot of the time, I simply replace the whole sky from high resolution digital stills which I have. I then use shearing in x, with the axis center placed at the horizon to fake a little bit of movement in the sky. You can also use a bilinear to enlarge the clouds near the top of the frame while keeping them smaller towards the horizon. This helps with perspective issues. Play around with the amount of movement to maintain a “realistic” look
Regraining to match the original scene is also critical. As is tracking your clouds to the original scene…that is even if it is a static shot — match the film ride.
Also pay attention to the qualities of the telecine scene — is the sky already blown out? If it is, you should maintain realism by keeping your sky a bit blown out. This is because the edges of your matte won’t look correct if you replace a bright sky with a much darker sky…they’ll be all rounded and blown out (which would not occur if foreground objects were blending to a darker sky). Whenever I know I’m doing sky replacements, I’ll ask for a corrected pass as well as a flat pass where the sky isn’t blown out. This way, I can more accurate blend the fgd with the sky (maybe by using the edges from the darker pass intgrated with the lighter hereo pass). It is certaily a pet peeve of mine, but I hate seeing totally obvious sky replacements (aka rounded edge borders or white rimming around fgd objects).
We’re in the process of determining if we can do it, what the demand would be, and then figuring out the cost, distribution, etc.
We’d really hope to make one available for those that missed it….we filmed the event of hopes of doing so.
Z-buffer is used when you’re placing items in 3D space — so that they layer correctly. If you’re not using 3D space (just comping), turn it off and the layering order follows what is in the layers menu.
With Z-buffer on, images and geometry are layered based upon their position in 3D space relative to the camera. To see Z-buffer at work, turn it on. Then:
1. Scale one image to 50% Put one image at Location X 0, Y 0, Z -100
2. Add another image scaled at 50% and move it between position Z -200 and 0.You’ll see that as the second image is at a position less than -100 (-99 or greater), it is layered above the other image.
mlanglotz wrote:😀 Well, here we go… a bit of a challenge for all of you.
I came up with this silly idea and I’m sure, someone can figure out how to do it.if((obj_2.position.x)<-200 || (obj_2.position.x+50)> 200,0,obj_2.position.x + 200)
How can I define: If obj_2.position.x=0 then use the frame number of obj_2 at that point of time? That’s just for messing around with a bell curve and getting a similar result just smoother. Does anyone know?
I’m not sure what you mean by that last part. Do you want to use the position of obj_2 at the frame number that the timeline is on? THe current frame?
I have some ideas, but it is dependent upon what you mean 🙂
If you have the new version of inferno/flame, an easy way is to use the pre-provided sphere model that is in the /models directory. Then use a high res texture to map onto the sphere (using wrap mode).
You can feed the high res texture map via another action node in batch or use source nodes to create the map as well.
With this method, you obviously can’t separate the cards out, but it will form a sphere….
which version are you running?
you can generate an html listing of the archive, complete with images, that you can view in a web browser….
“Generate HTML” is a button in the archive menu. And then browse the file it creates in /usr/discreet/archive (or whatever your archive directory is).
Hey…that’s cool…mind if we add it to the downloads/tips section?
Well…a good way is to have authentication on your company’s firewall/router so that you can log in to view them. And keep out the “undesirables”.
There is a tip here regarding batch logs and apache setup:
http://www.fxguide.com/modules.php?name=fxtips&rop=showcontent&id=119
If you want to forward it to me, I’d love to add it to the fire tips section if you think its ready…..
John
actually, thats the way to do it….