[rego]

Well I just checked my workspaces, the options you told me are the default ones and i have not changed them. i.e the field dominance of my comp is “upper first” and in my render “no Fields”. Actually also played the .mov on my computer and i can see the same jittery motion i was talking about on my progressive monitor. so i dont think its much of a viewing problem, i think combustion cannot handle something rolling across at a little fast speed. In fact just playing the animation directly in c* without rendering also gives a jitter. I think you should try to do a quick text roll and you will know exactly what my problem is, Thanks

[rego]

I did a test with a Digi Beta and it works fine. I captured the copy back in inferno without problems, just the time code was new, so i had to specify this at time of recapture.

[rego]

Well if u have mastered shake its a good start, as Flame and inferno have a lot in common with shake. In some ways i can say that shake has some better tools. and also the plugins are the same. the node style of working is also similar. Get your self the training DVDs from http://www.cmistudios.com for flame. ➡

[rego]

what I do:

Quote:

shutdown or halt

then on the onyx2 lcd screen “power down”

you will see on the upper and lower little displays “pwr dn”

There is no “power down” on the lcd screen, there is the key with three positions(12 o’clock/9 o’clock/6 o’clock)….standby, on, diagnostic. when the machine is on the key is at the standby position when it is off the key is at the diagonstic position.Please advice…

[rego]

I had a similar problem, the only solution i found was to export it again and again from c* till it matched in Flame. 😀

[rego]

I would also like a tutorial on the color warper. specially using it to correct badly lit shots and footage without proper white balance. 🙂

[rego]

Save in illustraitor as file for version8. it should open without problem. if it does not work then export file from illustraitor as .psd and you will have all the layers seperate in c*. 😉

[rego]

well try saving the ai files readable for ver8 of illustratior. what i do is i save the ai files as .psd and then import in combustion.

[rego]

Its not just a viewing problem, combustion is taking the matte with some amount of opacity(grey areas in the matte) and not as a black and white image. Even when i use the matte of any layer and set matte with another layer you dont have a perfectly opaque cut image.there is transperency. In other softwares like inferno the same image works fine.

[rego]

The best way would be to first paint all the wires in the scene with the blue from the screen using clone. Then to clone the wires overlapping the character with a nother portion of the similar body part (This is easy in combustion using a locked frame that does not have the wires on that particular part i.e .. eg…you will be removing the wires overlapping the hand at frame 10 using frame 9 or 8 which does have the wires overlapping. ) After you have finished all painting then you can key the character.

[rego]

Thanks for the info Mike

Quote:

Can you suggest some topics you’d like to see covered ?

– matte painting?
– flame compositing?
– tracking ?
– shake?
– sparks?

Well… hmmm.. I guess i would choose all the above.But I think i would give priority to flame compositing and sparks at the top of the list,followed by 2d tracking and stabilizing(specially when u need to stabilize a footage with camera tracking and rotating with the tracking points constantly moving out of frame). I hope other members share thier choices too.
Thanks Again
Keep up the good work

[rego]

Depends if u need premultipled alpha or split alpha in avid. if u need split alpha then its pretty simple. Just render the mattes seperately. if u need premultiplied alpha, which most editing systems accept, then u have three options, again depending on which avid accepts i.e TARGA,TIFF or Quicktime. They are pretty much the same except Quicktime is not a sequence of images. it is one file and it supports alpha channel too.

[rego]

Dont waste time,I have tried it many a times, it never worked. The camera imported in inferno but it would not have the same information as it had in 3d. I wonder if it ever worked for anyone?

[rego]

It would be a ideal for you to continue as an offline editor and improve your skills at combustion by doing more work on it for clients and actually going through the hard process of changes and more changes,which will ultimately benifit you. Also getting into 3d softwares and at the same time while doing compositing is a bad idea, the industry wants specialists.

[rego]

Inferno and flame are for artists who have graduated from using the desk top apps like combustion and shake and know how to achieve any particular effect in the shortest time with maximum realism(and have experience of dealing with clients online without losing it). Once you have worked on desktop apps for two or three years doing actual production jobs you will automatically get a feel for this. Then once you watch some one work on it for a few days you will pick it up . but the point is to get acess to the machine, which i agree with the other guys is a major prob. but believe me it may be called the ‘big guns’ in the industry but there are a lot of features in shake and combustion which are far superior. for example the paint tools in combustion are far more superior than FFI. Best way is to get yourself hired into a post house with FFI even as a beginer working on desktop apps and work your way up. Paying big $$$ for training for three days or a week does really not help, even if you have the money to spare. It does not get you a job as an inferno artist instantly.

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