[burhan]

Here is a good way. In either smoke or flame you can, first create a black frame then enter paint. Change your color pot to white and then choose the cloudy looking brush. It should
be the 8th brush in paint that you have as a preset. Make your brush as big a the screen
512. Then make a few strokes filling the screen. Make it so its an even grey patchy look.
Then go to the desk top and create a white frame. Then enter action or dve. Create 3d text,
and add texture.Go to surface and make sure you use painted frame as front and white as matte. Then under shine add 100 and make sure texturing is set to reflection. Then add lighting (key and fill).Make sure you turn on shading in setup. Also add antialising I tend to use 12 or 16 (This slow rendring down). This will give you your desired look.

[burhan]

The best way to composite shots like these are to deinterlace the shot. This will create
twice as many frames,but works. Track,roto and comp then add interlacing back to shot.

[burhan]

formatting should be formatted ext 2. I have also formatted drives in osx os-extended which is not the best but it works.

[burhan]

My answer:) – batch tool -it has the modular keyer and custom 1d and 3dluts,resize,motion anaylzer,timewarps,optics,color warper,3d tracking,warper etc…. built right in, which you can apply soft effects in the timeline. Most of these are not accessible in smoke. You will find yourself
using these tools quite often in trailer finishing environment. There are times you may even need to import 3d geometry and need to warp it using deform lattice. However you don’t have the capabilites smoke has with a multilayer vertical editor. Most of this has to be timed in action.

[burhan]

I use smoke,eq, and Ds. I have to say the smoke wins. A great compositor and editor. However Quantels shared storage technique is better than Autodesks. Two eq’s can share
the same clip (at the same time , which is shared only by metadata). 2 smokes can share
the same clip (only if a copy is made in another project). Quantels way with dealing with multiformats (SD,HD and 2K) on the same time line is faster than the smokes way. Smoke
creates a timewarp when you cut, say 720p material in a 486i timeline. This can be a little
a little doggy considering you would need to end up frame blending this material.The smokes history tree is very powerful and easy to work with. I have had alot more stability
with the smoke than the eq. There were alot of times were I would get a lot of loop
crashes with the smoke. I really wish autodesk would bring batch into future version of smoke. This would be a great upgrade. It would allow you to work in a schematic enviroment like shake,fusion or even the effects tree in DS, but for the most part you have
most of the tools you have in FFI (3d models.camera,lights,ex-bicubics,etc..)Hope this helps.

[burhan]

Set action 1 output in your context1 view and action 2 context2. Then toggle between these. I think this is what you were refering to.

[burhan]

If you learn avid xpress pro your basically 70% there. All of the avid products are
almost Identical. Media composer (adrenaline) and symphony (nitris) are Identical.
The only thing that is different are some online tools and color correction. As for the
DS (nitris) that is a different beast. The learning curve is a lot steeper going from
composer/symphony to DS.

[burhan]

I work on a EQ which is close enough. I can say that its a great at editorial and
multiformat versioning. but lacks in the compositing area. Rotoing with garbage mask are very awkward. Paint is better in FFI. Schematic view is better in FFI. mesh warper is better in FFi. There is no 3d importing of models .3d compositing is better in FFi. I do like the plugin support they have. Supports Boris,tinder,sapphire,trapcode,and others. I think the IQ and Eq will eventually fix
these issues mabey address some at NAB. I would say no other paltform comes
close to FFI for compositing. I would really compare IQ and Eq to Smoke,Fire and DS Nitris.

[burhan]

you could color correct,boost the saturation and use that to key from. This should give you a better key to pull a matte from. You may need to garbage mask this.
If you have access to FFi you can use the 3d keyer, Several patches may also
do the trick.

[burhan]

Are you working in 8bit or 10. You might try 10bit. You could also try a gausian blur on Y

[burhan]

Stay in logrithmic color space if you are just doing editorial. If there is any color
correcting involved you should apply the log to lin conversion. When you create custom log to lin conversion (setting your own gamma curve), FFi will create the
inverse for you. So you can apply this later. Chances are you will do the DI elswhere.

[burhan]

1) you could do a 2 layer up in action (background left side and final on right) -no audio

2) in the color corrector you could do a split with backround and foreground with a crop – no audio

3) in batch you could use the editor to make a transition (horizontal or vertical wipe) and make the wipe 50% thru out the duration of the clip

[burhan]

jot or nedit your .cshrc file and check your short cut for flame. Someone may have
changed it. Some people change it to f or F. You may have to be super user.

[burhan]

Just make sure you shoot it in whatever frame rate your project is going to be at
Probably 24fps or convert the frame rate manually in FFI or whaterver compositing
software your using.

[burhan]

That being said, I would use ext-bicubic. If you have a video reference of the actor
you could do a side by side (multi view) in action. This will help time mouth
movements.

[Author]

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