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Not sure about having to buy a minimum of 5 tho’
Paul
PeerlessWe have a SAIT which usually sits on the back of our Backdraft, which works very well./ Unfortunately as we are using Inferno vsn 5, we can only use 350GB of a 500GB tape
If you’re seeing banding, then you must be working in 8 bit (Flint is only 8 bit, right?), in which case that’s a feature I’m afraid. You really want to be working (in FFI) in 12 bit.
Paul
PeerlessAs FFI won’t recognize the avid codec, I always convert to sgi’s with QT pro.
Paul
Peerless“k”
You have just touched on a raw nerve there, burn licenses for sparks, one reason we actually now use very few is just that. I did work out that for the cost of licenseing our burn boxes with Sapphire, for example, I could buy a whole new set for another Inferno and have plenty of beer money left over.Paul
PeerlessSorry, but no way can you compare FFI to combustion, nowhere close, I work only on movies (used to be commercials), and all the difficult stuff comes into the Inferno, run of the mill compositing goes to Shake. Try sitting with a major league Visual Effects supervisor/Director on a shake or combustion when asked show me a couple of versions, “errr, come back in an hour/XX hours” then do the same job on Fleme/Inferno “give me 10 minutes and I can show you something” There is a reason why these boxes cost a lot more (and I wish they were a lot cheaper), they give you the ability to respond to creative input quickly, bang out a quick lo-re render for confirmation. I have been working with Terry Gilliam over the last year and he is a very visual person to work with, if I didn’t have the flexibility and speed of my Inferno I doubt that I would have met my deadlines and given Terry the ability to respond quickly to shots if I was working on Combustion/Shake
vsn 5 of Inferno
When I posted that we were using them, we were using vsn 4 on Onyx 1. Now on vsn 5.x on Onyx 2 and back with stones. vsn 5 will not work with 3rd party arrays.
Paul
PeerlessIf you can get enough separation use green gels on the lights for the background, I have used this technique many times and it works well. If possible also get the wardrobe to come up with colours that are as opposite to green as possible, with a view to tweaking the colours back, if need be.
Paul
PeerlessTry Furnace from the Foundry, they havean excellent wire removal plug-in
Paul
PeerlessThe method we use here is to use a log to lin LUT (written inhouse), then use a monitor LUT , to simulate print, (also written in house), then output with lin to log (working 12 bit linear, 2048×1556)
Paul
PeerlessI guess a lot would depend on your budget and schedule, but I guess in an ideal world you would build your talking characters head in 3d, rather than projecting the real texture back on, more like Stuart Little
Fair point, but as we were not the primary vendor for the show, we had to work with an existing pipeline, which in hindsight was not necessarily the best way to go about this kind of work
Well, having worked on Racing Stripes, I can tell you a little of my experience. We just had plates of the animals talking, no tracking markers, all tracked by synthise. Lots of 2D cleanup required, cleaning up moving mouths, removing bridles, to give a clean texture for the animators to project onto the talking model, then more 2D, putting bridles back on, fixed 3D jiggles etc,etc.
In short expect lots of problems, animals being animals, they won’t ever do exactly as you want, also bear in mind shots will be chosen by the director for overall action, not necessarily because the shot will make your life esy.Good Luck!!
We’ve had it floating over 3 infernos for about a year now. I wouldn’t be without it, especially Kronos. I’ve also had some good results with the wire removal tool