AutoDesk Smoke :: Get Viewport To Broadcast Monitor?
Aug 22, 2012
I run Smoke 2012 Adv Ext1 SP1. The hardware is old, like 5years now.
The way I remember it our GFX card is not powerful enough to feed a broadcast monitor all the time, the output only comes up there when I'm in player.
But, unless my memory's even worse than I thought, I used to get a full screen output from the viewport that was selected (with the blue 'Monitor' display) in Action and Batch.
I can't seem to get this working again. I suppose it's in preferences, but the multiview section is greyed out.
In the Broadcast Monitor Preferences, under the Broadcast Colour Space, when exactly should I use the "Normal" option, and when should I use the "With Headroom" option?
the "Include YUV Headroom" option during Import and Export of Quicktime files, but it's the Broadcast Monitor option.
Is it possible to lock the CFX output to the broadcast monitor so that I can see the changes I make on the image in the broadcast monitor while working in the 1-up view? This way the CFX schematic can fill my 23 inch computer screen. So far i have only been able to do that with the 2-up, etc views. As soon as I switch to the 1-up view or swipe to the left while in 2-up view (which switches it back to the 1-up) the broadcast monitor shows whatever I am working on be it schematic or other.
When I am in the 2-up view and I lock the right part of the 2 up view to the broadcast monitor I usually maximize the left view to fill the screen. It however does not fully fill the screen and keeps the right view scaled to a very small size on the right.
Having a very noticeable delay to my broadcast monitor. When I play sequences through FCP7 it's fine. Running an SDI signal out of an AJA IO XT into an SDI input on a FSI BM 210. Do I need to change some preferences in Smoke?
When I have a Primary and Secondary set on the timeline my boradcast monitor only displays the secondary unless I hav ethe big viewer up. I'd like to lock the output to the monitor to always be the primary output track regardless of player status.
When I go into CFX/Action my broadcast monitor switches to the schematic view. Since I already have the schematic view on my computer monitor I want the broadcast monitor to keep the final output. I looked in the preferences but I can't find the right setting. Is there a away to do this?
I just update my smoke to SAP SP1 today, but I don't have the preview from my broadcast monitor anymore...(Damn!! Sometime I hate updating the software when u already have stable system..!!)
I already update my AJA driver to 10.0.1, and from System Checker software, everything look good.
I am here making some work braodcast safe for a client and came acroos some footage that is peaked at 100. What is a ok level to bring that back to?
I was thinking to myself, how far back could you bring it before it changed perceptually? I was thinking to bring it back to 80. I had this in the back of my mind while thinking about this. URL....
In terms of motion graphics and also in terms of live footage.
in the preference Monitor is not active tab for select Dvi output ,is only Off is not detected the output DVI. I do not understand why the first project in the preferences screen brodcast is a choice DVI output, if you do other projects is no longer selectable, only OFF.
In our edit suite we have the usual video delay from the output of the Kona card through the suites monitors. We also have an audio delay box to correct for this. Our client monitors are all in sync. In Final Cut there is a control to delay the computer monitor video to have it in sync with the rest of the system. In Smoke we cannot find a similar delay. We see the audio delay in preferences but that changes the wrong offset. how to adjust the computer monitor delay so we are all in sync?
I'm just about to order a BM card for video monitoring but looking for connection setup that allows me to get both video monitor and external display from my macbook pro?
I know that the AJA Kona 3 card has 2 outputs. Can Smoke send one eye to one channel and the other eye to the other of the Kona 3 card? Dual Stream output is what I am really getting at.
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.
What is the best plugin to do spline warps in smoke?(need something like the distort in flame) I notice revisionfx don't make a warper for smoke on mac.
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 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.
When I export a XML from FCP 7 all of my files come over and link but there is no video with my HDV files (1440 x 1080) all of my other files (Canon FX etc) come over fine.
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.
