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I was a little nervous the first time a spot went out with a jitter-frame 2-pop or first frame, but seriously…no one has ever said anything, and that was ~500 spots ago.
They are smoking something. We work exactly the same way, and have never had a spot bounced for hybrid edits. We mostly ship to DG in Chicago, though.
Yes. Wire works fine between Smac and Linux systems.
DPX frames can and do frequently have timecode, and can be video gamma.
Our reseller has always been able to generate temp licenses for us in the past, albeit on linux. It sometimes takes a few days due to people being on holiday or at trade shows, but if you are a legitimately interested potential customer then they are making a bad move by not taking care of you. If you really feel slighted, there’s always FCP or Premiere. Are there features specific to the extension release driving your decision whether to buy Smoke or not?
Are you seriously debating between Smoke and Nuke? They’re completely different apps for completely different needs.
I’m sure you’d get the extension release if you bought it. If you’re actually serious about wanting to test it before buying it, you can call a reseller and they will probably give you a temp (1-month) license. I suspect you’d rather pretend to be a martyr on the internet, though.
You don’t. Mac Smoke doesn’t have BatchFX, which is intentionally Linux-only.
@CleverNameStudios 32091 wrote:
You Don’t think Smoke and Nuke would compete? I know there workflow is very different, but man after playing the the trial I don’t think I want an other work flow. that said I love Nuke, but if I had $14,995.00 burning a hole in my pocket I don’t think I’d ever mess with Nuke or Shake.
Smoke and Nuke complement each other. They do not compete whatsoever.
It’s a battery life thing. The Nvidia gpu uses a bunch more power, so if you’re just surfing the web, it deactivates and uses the low-power intel graphics.
@freeflowform 31979 wrote:
i ran the demo on the 15″ unibody 2.66 core2duo and it ran perfect (albeit the resolution was too small)
then on a i7 17″ … no luck, light blue wash over the screen 🙁
I ran into the same problem on my i7 17″. You have to force it to use the nvidia gpu instead of the intel graphics for smoke to launch. There may be a default OS option to change the gpu now, but I used http://codykrieger.com/gfxCardStatus/, set it to nvidia, and Smoke launched happily. HTH!
People who still shoot interlaced need a punch in the nads! There’s just no reason to in this day and age. Ugh, so terrible!
If you want to maintain your interlacing, you need to use format->deinterlace instead of deal. Do your cleanup, then reinterlace. Note that your shot just doubled in length. Awesome, isn’t it? You get to comp twice as many frames and then throw out half your vertical resolution so whatever jackhole that shot that stuff can keep his smooth, tv news / soap opera-esque temporal resolution.
The shot might have 3:2 pulldown that can be cleanly removed down to 23.98 and then reinsterted after comping (format->remove pulldown), but if you know where to find the Deal button then I’m guessing you know the difference between 3:2 and straight-up interlacing.
Was the one project you can’t see remotely created in an earlier version of the software? That’s a wire limitation now. If there is a 2010 project on Flint A, you can’t see it from Flint B in 2011. If you switch over to 2010 on Flint B, can you see the missing project? If they are all projects created in 2011, then you should probably call support!
Proxies are dangerous! Every time I build up my confidence by using a bunch of simple stuff, I’ll try them again on a really heavy comp and get completely hosed. On my last big project, I had an Action node that would insta-crash Flame whenever I clicked on it unless I un-hooked and re-hooked all its connections beforehand. Also, proxies still occasionally rescale my garbage masks.
@ChrisLight10 30716 wrote:
thanks Brian
any advice on what to use for handles when dealing with a ton of timwarps?
thanks again
I usually just set it to 1 second and the EDL handles it, but that may be because our offline assistants are awesome.
Unless the editor prepped the speed changes as separate cuts for each speed, you have to eyematch. EDLs don’t support variable speed ramps. It’s time to make friends with the timewarp editor. I like to set keyframes on the timing curve.
If you have Flame 2011, you can blend primary/secondary tracks in the timeline. If you are on Flame 2010 or earlier, you can take your workpic and conform into batch, set your workpic as the context and your conform as the main, and then use a 2-up view to check your edits. To check timewarps, I like to toggle between the result view of my conform and the workpic context using hotkeys – 1, f4, 1, f4, 1, f4.
Good luck!