I am investigating best practice workflows for a feature length project shot on 2 Red Epic cameras and editing was done in Final Cut. I need to grade and finish the movie along with many other finishing requests like screen replacements, set clean up involving tracking and many other common DI requests and fixes. I use Resolve for most Grading but since there are so many FX shots that need work I was contemplating keeping everything in Smoke so I can make adjustments to the grade and FX in context of the whole edit.
Is this advisable for a 90 + min edit with Red footage? It might be doable but is it feasible meaning would performance be very sluggish? I have a 2009 Mac Pro, 24 GB RAM, 8TB RAID, RedRocket and Quadro 4000 card.
Would I be best off having the editor break the movie up into 10 - 12 minute sequences and then import each XML as its own sequence into one Smoke project?
If I import the Red footage at half res, because of performance, I am only using half of the info in the file. I have a RedRocket so should I import full res 4K to get maximum quality? Then let Smoke do a resize to 2K which is the final deliverable format? I figured that might be best for doing resizes and for sharpness.
If I work with proxies would all of my tracking and paint work be valid when I switch back to the 4K version for final render?
I'm working on a feature film and I have a question about relinking AAF to mp4 material.First let me explain the steps I took:
-source material mp4 files from camera -transcoded to .mov files so we could use it in Avid -export AAF from Avid.
Smoke: -imported all the source clips (mp4 files) with the gateway into Smoke -imported the AAF file -put the AAF file in same reel as mp4 files. -choose Tools/Unlink/Relink and enabled 'Use Clip Name' and Use Timecode.
The problem now is that all the clips are getting linked by timecode only.I discovered that it's because the clips used in avid are .mov files that I want to relink to the mp4 files.
Is there a workflow to substitute the .mov for mp4 in Smoke somehow?I hope there is because now I have to do a lot of manual work (and there is not enough time for)
In terms of feature sets, it seems like a few more things are needed to make this a full-fledged compositor... (so one doesn't have to leverage AE/Nuke/etc.).
In particular: - 3d projector - 3d tracker - scene to point cloud (or even automated 2d to 3d conversion??) - particle system
These things seem to be standard elsewhere... For us, it seems sort of crucial to add that. We think that not having to round trip is a really great edge of Smoke, and the integration between CFX and the time-line is very well done! However, then there's so many things missing compared to other packages. And those are the type of features that can really create more complex scenes and really speed up the work.
Also check out the new context-aware patch/move/paste tools in Photoshop. That would be a great addition to the paint module. CS6 has a timeline now and offers a lot more in terms of paint. Esp. if one can apply context moves to the entire motion sequence with auto-paint (that's something where PS CS6 still lags).
To hide the top menu bar and use the application in full screen, you must specify this setting in the Smoke Setup utility, which is found in the Smoke 2013 folder. In the Smoke Setup utility, under the General tab, set the Menu Bar option to no. When you hide the top menu bar, certain options, exclusive to the top menu bar appear at the bottom right of the screen. You must restart Smoke after making the change for it to take effect.
why but it feels to much more like a real application again! Hadnt realised just how much I disliked menu bars until now.Now how do I create some color bars?
I'm creating a DVD with just one MPEG2 feature length movie. I've selected the movie and done all the technical burn settings.
What I want is for the DVD to begin with a screen that has the options to 'Play Movie' which plays the whole thing or 'Chapters' which then goes to a chapters menu. Obviously they have to be able to get back to the option to play the whole movie.
I've separated the movie into the chapters by doing Add/Edit Chapter and clicked Next.
Am I right that Add Title Menu creates the first screen, and the Add Chapters Menu then creates the Chapters Menu? How do you have the Play Movie option - or is that just achieved by playing the first chapter (ie does it carry on with the whole movie?) With each chapter, does it proceed to play the whole of the rest of the movie after that chapter?
Also, the first chapter has a black screen thumbnail. How can I change the look (but not the actual starting point) of that chapter?
What does 'close the disc' mean? Does closing it give better copyright protection on the movie being taken off the DVD?
Finally, how do I save all these chapters and settings so I can just a burn the DVD quickly next time without creating chapters etc? (I am creating a Disk file, but can I save it as a Project?).
I would like to know what calculation on the length of a folding feature is performed by Inventor when one folds it. Read my example to better understand my question.
I am trying to fold a part of my sheet 90 degrees, I am going to call the folding part sheet B and the rest of the sheet, sheet A. Now, understand that when I fold sheet B 90 degrees, its face will no longer be parallel to sheet A, but the face of its thickness will. Consider this, now: when I fold the sheet B, there will be an inner part of the folding (which will have the faces of both sheet sections 90 degrees from each other) and the outer part (which will have an angle of 270 degrees between them).
I want the distance between the thickness face and the outer face of sheet A to be X in length. Which is the intial length of sheet B for this to happen? Consider using the BendRadius, Thickness, and other Inventor Sheet Metal parameters that will participate in the equation.
The question surged because I wanted such distance to be 5 in a part with a Thickness setting of 0.5 (as well as BendRadius), but because of this folding length calculation, I had to make sheet B 5.631 in length.
Is there any way that Smoke can see/output sub-blacks and super whites? Can't find any way of seeing them on my scope, Smoke just clamps everything. It won't even see anything below zero in order for me to make a correction on it, everything seems to be clamped on import. I'm using ProRes HQ footage.
I am experimenting with Smoke 2013 pre-trial and I am having issues with importing images and video with alpha channels.
1. If I have a layered Photoshop file or png with an alpha channel (a still frame lower third), I see that I can import it as a multi layered clip, but what is the best way to have it in the sequence to show up properly?
2. If I have a QuickTime in animation format or Pro Res4444 format with an embedded alpha, how can I import that file to show and cut it on a top layer to animate above my video?
Does Smoke have selection functionality similar to that of Combustion? As an example, you might want to selectively blur part of an image. In Combustion, you would draw a selection and then apply an operator above the selection to achieve this. I don't see a similar selection tool function in Smoke, but I imagine you could achieve the same effect by duplicating a layer and using a Gmask via the Wipe timeline FX.does Smoke not have a selection tool similar to Combustion?
Whats the dealing with importing TWs to Smoke? I have a show that's 70% keyframed with timewarps and need a way other then baking the effect to bring it into Smoke. It's comming from FCP7 and we have Automatic Duck but neither the XMLs or AAF bring anything other then the first speed of the clip. Any way to retain the keyframes?
I am running AutoCAD 2009 and am trying to print a layered PDF. I am not sure how to do it. BUT I downloaded AutoCAD 2013 and it can do the job just fine (under the Output tab). Which AutoCAD version did layered PDFs debut? Is there a way to do it in AutoCAD 2009?
I have RED footage which I exported as EXR. When I import them back in, they look exactly like the RED footage. But when I import the EXR in Fusion, export it back out, and then import that EXR into Smoke, it looks brighter, although I didn't change anything in Fusion. (when I compare the EXR from Smoke and the EXR from fusion in my finder on my desktop, they look exactly the same). So what is Smoke doing with the "foreign" exr on import?I was also playing with the LUT settings. I get a result which is close, but I need to be exact.
I converted the h.264 files to uncompressed 10bit. Bringing in the footage and XML was fine, but as soon as I resize to PAL (the timeline was changed to PAL, as was the output on the AJA) the picture starts anti aliasing in detail areas. I have processed this with every filter in Smoke with no satisfactory result.
I'm currently trying to conform an XML from FCP 7 into Smoke 2012 (Linux). The issue I have is that the files I want to conform with are MFX, however the files used in the FCP timeline are PRORES, therefore have a '.mov' extension. This means the Smoke is not seeing the MXF files due to the extension & the only way around it I have found, is to edit all of the '.mov' extensions to '.mxf' extensions in the actual XML. This works well, but is a complete nightmare, particularly as I'll have to do this for 13 half hour episodes!!!!
I have tried all the different combinations of Filename, Timecode, Tape, etc, but none work due to other metadata issues from the filming of the footage to it being delivered to our edit suites!!!!
Any way of making the Smoke ignore the file extension?
Can i remove the fx history ? for example i render a cfx clip. then i want to keep the render only and disconnect the relationship with its 'cfx history' . And is there any practical benefit of it ? You maybe will ask me : 'why do you wanna do it?' , my answer is " i don't know man, it just came across my mind .