Chris Smith
Forum Replies Created
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It looks like it is being used correctly but I’d be curious to see the files by themselves. Are you sure you’re not selecting Luma inverted? As opposed to luma?
Chris Smith
https://www.sugarfilmproduction.com -
However that makes me think that that’s why Digital Domain built Nuke a while ago.
Chris Smith
https://www.sugarfilmproduction.com -
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Thanks for the kind words. It is always a team effort. My role is to direct it. But the ad agency creatives, myself and the producers (production side/agency sides) all work to create an end product.
I only DP my own stuff on one project a year. Otherwise we have a few DP’s that we will use depending on the project. As far as post, the broadcast versions are mostly done by post houses with the ad agency guiding their way. I’m almost always off shooting another project by then. However, unless the end product somehow made it through the filter of client changes, ad agency points of view, or apathetic editors as a great product, I almost always re-edit and composite from scratch on my own time for our reel. Maybe 2 times a year I will take on doing post for a project if I think it will be simple and creative. We also do a few motion graphics projects a year. In our new building (if it’s ever finished) will have 2 post rooms where we will take on post full time (using freelance artists/editors).
Chris Smith
https://www.sugarfilmproduction.com -
Shake my friend, Shake. I’ve never used Digital Fusion, but anything node based like Shake, DF, Flame/Inferno, or Avid DS.
I’ve never used high end discreet, but Shake and Avid DS are by far my favorite to do effects compositing.
Why? Node based. The abilty to wire the basic fundamentals of a video stream in any way is the only way to do complex comps. In AE after you’re searching through 10 nested pre-comps, you quickly see why node based is the best solution.
That being said if you are doing motion graphics, I think a layered system (like AE/PS) is by far the best. I personally love Avid DS becuase it offers both.
Chris Smith
https://www.sugarfilmproduction.com -
Like Barend said it’s been used very succesfully for both. However if one examines the app itself, I think one would conclude it is optimised for motion graphics. For me it’s lack of being node based, not having a great tracker, and roto (mask) tools that are amazingly unintuitive makes me think it is not built to be a compositor for effects.
For me if it’s a simple comp, I’ll use AE. If it is anyhing remotely complex, I have to have node based.
Chris Smith
https://www.sugarfilmproduction.com -
Search Posts on this one. This was asked a handful of times in the last few months. I think you’ll find some good info.
Chris Smith
https://www.sugarfilmproduction.com -
I’ll say between FCP and AE I’ve never really found a perfect way. Even with the Duck, it’s a pain to dump to and fro. I think the ultimate solution is that Color Finesse works native in your NLE. It works in FCP, I wonder if there is one for Premeire. Unless I missed something, I keep waiting for CF 2 that is supposed to be more friendlier to use (realtime feedback to monitor, presets, power windows?). I’ve said it so many times that CF is so close but so far away at being a perfect corrector.
I’m amzed overal how there is almost no way to do good / pro color correction simply to clips in a working edit timeline without getting an Avid DS or Symphony. If you have all day to mess around with it, there are many ways (like I created a DaVinci set of nodes to correct in Shake) but dumping in one shot at a time is grueling.
The FCP Color corrector doesn’t look good/have enough control. AE’s internal PS like color correction is a joke for quick, pro corrections. Arrgh. Combustion seems pretty smart about although I haven’t played with it. They have the edit node that will hold your clips then you can use their very nice corrector on them.
Okay, this was more of a rant than anything helpful.
Chris Smith
https://www.sugarfilmproduction.com -