Wednesday, October 29, 2008

Autodesk+RED Workflow Guide

Autodesk release a white paper on using the RED One with Smoke, Inferno, Flame, Flint, and Lustre.

The RED One camera and its ability to capture large frame size, RAW-format files has certainly ignited the imagination of filmmakers and videographers. But its unusual file format and requirements has also created a lot of head-scratching among users trying to find the most efficient way to send RED footage through a normal production pipeline.

To this end, Autodesk just released a white paper that covers using RED One footage with their Smoke, Inferno, Flame, Flint, and Lustre systems. It covers shooting, lighting, color spaces, proxies, going from offline to online, audio, finishing and final output including suggested settings, as well as an appendix on RED-specific applications and where they fit into the workflow. In other words, this isn’t a brochure; it’s a mini-handbook for users that describes the current recommended practices in some detail.

You can download the white paper here. Here’s a thumbnail sketch of some of its suggestions:

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Thursday, July 31, 2008

Adobe will support RED

The news many of us have been waiting for…

Sorry for the short post, but I know this is news many of us have been waiting to hear (and sooner than some of us thought):

“Within a week, RED R3D files will open natively in CS3 Premiere Pro and After Effects.” On both Mac and Windows.

This is not a rumor; this is the real deal.

Here is the thread on Reduser.net.

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Friday, July 11, 2008

Leaving Los Angeles

Trading Hollywood for The Land of Enchantment.

The reason we haven’t been posting up here for the past couple of weeks is because we’ve been packing up our home/office/studio and putting it into storage while we buy a new home in the East Mountains section of Albuquerque, just down the Turquoise Trail from Santa Fe. There are many reasons we’re undergoing this major life change, several of which we’ll be elaborating upon in the upcoming weeks and months. If you’re curious, here’s a few of the reasons why:

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Wednesday, June 11, 2008

Compression Artifacts & Pulldown

A question about a ghost leads to discourses on 3:2 pulldown and the QuickTime codec dialog.

This started as a quick post about how to gain finer control over the compression settings in the QuickTime dialog. But before we can get there, we first need to talk talk about how 3:2 pulldown works. (Trust me; it all ties together; it was also a good little mystery.)

I recently gave a training session at a local studio, and at the end they were invited to trot out their Barney Stumpers (questions about why something went wrong, how something works, etc.). For one stumper, a user had some footage with 3:2 pulldown, and after pulldown was removed, he noticed that an after-image of the previous frame appeared in the next frame after an edit. Why?

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Wednesday, June 04, 2008

A Distorted View of the World

A case study of why it’s crucial to plan just how you’re going to move between 16:9 and 4:3 worlds.

One of my vices is auto racing; I love to watch it. Which, of course, means that Speed TV (formerly Speedvision) is a requisite part of my satellite or cable TV package. Speed is owned by Fox Sports; you’d think there’d be some budget available, and some standards enforced. But every now and then, they put on a program that makes me wonder just who they’re hiring to do their production. (See my previous blog post Staggering Mistakes for another shining example.)

One recent program - a preview of a Formula 1 event - had me stumped for days trying to figure out just how in the world they managed to mess up the image that much (the result of which is simulated here). Here’s what I think they did:

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Saturday, May 31, 2008

mocha AE to CC Power Pin

Using Animation Presets and Expressions to simplify using CC Power Pin instead of Corner Pin with mocha AE.

Imagineer Systems’ mocha AE is a stand-alone planer motion tracking application that creates keyframe date which you can in turn use in After Effects. If you are performing a perspective-style track, you will paste the resulting data into a Corner Pin effect already applied to the to-be-pinned layer in After Effects.

However, some prefer using the CC Power Pin effect that comes with Cycore Effects (bundled free with After Effects) over the stock Adobe Corner Pin effect: It is more flexible, and some feel it resamples the layer with higher quality. As a result, a number of workarounds have appeared to apply mocha’s Corner Pin data to CC Power Pin. I’d like to share a couple, and add my own.

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Wednesday, April 09, 2008

We’re Off To See The Wizard

NAB always brings the promise of finding that secret ingredient we need to make us better at what we do.

It’s been awfully quiet around here lately...too quiet. But you know why: It’s the week before NAB (the National Association of Broadcasters) Convention, the largest annual industry trade show for those of us in North America), and we’re all hunkered down either a) finishing projects before NAB, b) getting our presentations ready for NAB, c) making out our shopping lists for NAB, or d) all of the above.

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Thursday, March 06, 2008

The Difference Between the “m” Words

Imagineer explains the difference between mokey, monet, mocha, and motor.

As Imagineer is fond of one-word names that all start with “mo...”, it can be hard to know or remember which tool does what. Below is some text I lifted out of an email by Ross Shain (VP of Sales, Eastern Region) to an After Effects list explaining the differences, with links to a comparison chart. It is particularly relevant as Imagineer Systems has been offering some deep discounts on some of their highly-touted tracking and rotoscoping tools; I just posted a News item on them extending some of these discounts until the end of March (click here to view).

In short all our products use a unique 2.5D planar tracking technology that allows you to motion track objects with blur, noise and go offscreen. Simply, the planar tracking technology is hands down more powerful than any point tracking system out there. The technology is then implemented into the products in various ways.

• mokey - removal tool - automates complex compositing techniques to remove unwanted elements from screen. Great for rig, scratch removal, stabilization etc....
• monet - placement station - compositing tool to track and insert elements with luminance passes, mesh warper and lens distortion correction.
• mocha - tracking and roto utility. Motin track and roto. Export the data or mattes to almost any app including AE, Flame, Smoke, DS, Shake, Fusion (adding Nuke soon), etc.
• motor - same as mocha but limited to rotoscoping
• mocha-AE - not a plug-in but a stand alone tracking utility that exports tracking data as AE keyframes. Corner pin with perspective or transform, scale, rotation. Copy and paste to AE layers. Increases AE’s capability as a vfx compositor!

There is some overlap between products but many users have found that with mokey and mocha their bases are very covered. Here is a link to a product comparison chart.

For more questions, please contact us off the list.

US eastern region:  rosss @ imagineersystems.com
US western region: billyw @ imagineersystems.com
Europe/Asia and others: pjc @ imagineersystems.com

If you need more information, here is a link to tutorials on their products.

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