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I hear that ILM have somehow ‘suped-up’ their tool Sabre (which is allegedy almost identical to inferno) to extend its capability and allow for it to fit into the .exr pipeline. Seeing as .exr is based on either floating point or ‘half-float’, one can only assume that there is some kind of solution going on ?!
I know that there was an .exr spark posted here a while back. But it did not give floating point access. I am sure someone out there has the answers, it’s just a question of getting them to speak up !
I do a lot of DOF in comp using Shake via zDepth channels in my image either .iff or .exr. There are bunch of off the shelf tools in most apps. You will need to use Sparks to do it in FFI (like almost everything !)
That is fairly freaking cool. I wish more people in the broader film industry took more of an interest in vfx other than just making smartass comments about the ‘make dinosaur button’ or ‘telling me that I can just ‘make a difference key ‘
Quote:I see some things like face warping and other cool effects that can not be done on a after effects system.There is nothing about the warper in Flame that is better than the warper in Combustion Fusion, Shake or After Effects. In fact I prefer Shake or Combsutions warper.
Quote:Shake died off but would be a good start as far as learning goes. Fusion nothing really wrong with it. was just really hoping to stand out show people i had something not alot of people have.when did this happen ? they may not be making any new versions but it is still pretty much the main film compositing tool on the planet. The way to stand out is by doing great work and being innovative. There are plenty of great FFI people out there. As nice as it would be to have a flame of my own I don’t think it is necessary by any means !
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I can’t see discreet certifying/supporting flame on that box. Flint maybe, but even then I don’ think so. Firstly you’ll need a quadro 4500 or so. Then as mentioned its all about the dual Fibre-channel, stone and wire and video breakout. Even if you get all the right hardware, I still don’t think discreet will support a single student user.
what is you budget you may be able to grab an older (ver8) Flint or Flame off someone second hand for about $50-100k that would be the cheapest you are gonna see it !
Dont use photoshop to roto, if you have acess to shake then rely on that. using photoshop does not allow for you to view your masks in motion and they will bubble and pop.
Nothing substantial has been written on roto in terms of books, but the books already mentioned and Mark Christiansen’s After Effetcs : Studio Techniques also has a good chapter or two on rotoscoping.
Yes I see the logic behind installing a very very very expensive software license on a piece of hardware that now runs about as fast as my cell phone, despite the fact that it is unsupported unable to run the app and illegal to do so ! good work. thanks for coming online with this idea.
Shake is not truely 64 bit. It will only acess 3gb in the gui and then allow you to access 3 gb for each instance of flip book that you run. There is NO WAY I would run comps through my system at full 4k. I have been working on a Dual g5 2.5 with an XRAID and I still have been using 2k and 1k proxies to get things done !
Rays had really good retiming based on its lineage from Cineon which had the awesome cineSpeed retiming. Fortunately this code, well at least portions of it, was aquired by Apple when they bought Rayz and Challice, and now is evident in the optical flow retiming in ……….SHAKE
So for $499 US you get awesome retiming ( and that whole insanely good node based floating point compositor) compare that to a the price of Kronos spark !
Bare with me as I am just trying to get to grips with fusion 5, so there is probably a smarter way to do this ! Basically the principle is identical to any other comp app.
-merge the fg and bg
-then branch off from the fg use a channel boolean to invert the alpha.
blur inverted mate
-use another channel boolean to multiply this blurred matte with the original, this will -be your light wrap matte.
-then place the BG over the fg using the light wrap matte. (You can either use another channel boolean to replace the alpha and then do a merge or do a merge and palce the light-wrap matte in the effects mask.)I prefer to use either lighten or screen when applying light wraps. Use the blur ammount and the blend of your merge to tweak !
make a new adjustment layer above the layer you wish to apply the masked effect to.
place the blur in the adjustment layer.
mask the adjustment layer.
Works with blurs colour corrects and most other filter that do not require a precompose before masking