In this week’s fxpodcast we discuss linear workflow. We geek out with 3D guru Master Zap of Mental Images about linear compositing workflow: separating fact from fiction, and discuss just how viable it is to set up a correct linear pipeline.
Why is linear compositing valuable?
Feature film compositing is nearly always ‘linear’ ironically – given the files are normally log ( ! ) but in the world of video and HD often multipass compositing and compositing is often done incorrectly leading to a series of hacks, fudges, and workarounds to make images look right. Zap and Mike discuss the issue and flag ways to set up a correct pipeline.
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5 thoughts on “linear workflow discussion”
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Stu Maschwitz is mentioned in the podcast and has posted about the podcast on his ProLost blog
Thanks for the very informative discussion. I been researching a lot about this issue ever since I saw Stu’s post sometime back last year. Though I haven’t been able to put this into practice at where I work because of the common scenarios mentioned in this discussion.
Anyway here are few couple of links which I found very interesting and helped me to get my head around this issue.
Very simple and easy to understand workflow
Conversion between “linear floating point” and the more common “sRGB bytes” workflow by Bill Spitzak developed for Digital Domain
Can we call this linear workspace “gamma 1”? I think it sounds cool and futuristic and it avoids the confusion of linear vs non-linear editing and people calling gamma 2.2 linear. Since non-linear editing has become common place I think the word linear has gotten a negative connotation.
Thanks, very informative and to the point.
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