[Shawn Miller]

[Andrew Kimery] “You could do what some Resolve users do and use an external PCI box to get more slots.”

I’ve never used one, but it seems like a decent solution to limited card expansion. I would still be limited to a single CPU though…

Shawn

[Shawn Miller]

[Andrew Kimery] “You can drop in two Titan Blacks, but you’ll need to buy an external PSU to power them. I’m not sure how big the Titans are, but you might be down to a single PCI slot if the Titan in Slot 2 also blocks Slot 3.”

That’s disappointing, the Titan cards take up two slots. I had been toying with the idea of purchasing a Mac Pro for my next major computer upgrade, but I never saw a hardware configuration that I liked. Now that I’m using a GPU renderer with Cinema 4D, Macs are officially out of the running, due to single CPU and limited options for multiple GPUs.

Shawn

[Shawn Miller]

Beyond the solid advice that others have given. Reading the excellent books by Ron Brinkman and Mark Christiansen on composting theory and techniques can really get you started in the right direction. If you can swing it, I would also look at any of Mark’s vault course on FXPHD. It’s 10 weeks of project based, hands on tutorials with tons of great tips.

https://www.amazon.com/Ron-Brinkmann/e/B001IO9KYE/ref=sr_ntt_srch_lnk_1?qid=1437593432&sr=8-1

https://www.amazon.com/Mark-Christiansen/e/B001HQ4HPK/ref=dp_byline_cont_book_1

https://www.fxphd.com/fxphd/courseDetails.php?idCourse=275

Thanks,

Shawn

[Shawn Miller]

[Gabe Strong] “[David Mathis] “Windows belong on a house, not a computer! ;-)”

Unless you want run a machine with two CPUs as well as multiple GPUs.. 🙂

Shawn

You can do that with a 2009 Mac Pro”

What’s the latest CPU chipset supported by the 2009 Mac Pro? Also, would I be able to drop newer nVidia cards into that machine… say, like two GTX Titan Blacks?

Shawn

[Shawn Miller]

[David Mathis] “Windows belong on a house, not a computer! ;-)”

Unless you want run a machine with two CPUs as well as multiple GPUs.. 🙂

Shawn

[Shawn Miller]

[Jon Shank] “Sorry, I should have clarified.

The fruit is not CG it is real. It is hanging on a string. The sword hit is real so he doesn’t need to paint the sword out to make it look like it hits. It actually does slice the fruit in half.

So how would he paint in the background behind the orange? I know of the wire removal tool but I’m not sure how to do it to something the size and shape of an orange.”

Sorry, I misunderstood. I thought you were talking about the last two oranges which are CG. I don’t think he painted in the background behind the orange, I think he was talking about the string. Like I said, there are different ways to remove objects from a scene; you can clone in bits from a different layer (like a clean plate), you can create track mattes, you can manually rotoscope an object and place a tracked layer underneath it, etc. You can also use a dedicated tool like Mocha or Silhouette. Just remember, you’re really trying to do two things… isolate your object(s), and create a clean background that you can composite that object on top of. There are lots of different ways to go about doing those things, just do a youtube search.

Shawn

[Shawn Miller]

[Jon Shank] “How did the sword connect with the fruit if he animated it down from it’s original position in the video?”

He lined the animation up with the plate so that the fruit would split apart on the correct frame, then he masked the sword out so that it appeared to slice through the fruit.

[Jon Shank] “Also, how do you “paint in” the background like he says?”

Are you talking about when he painted the string out? There are different ways to paint objects out of a scene, I don’t know what his method was, but one of the easiest is to use the wire removal tool in AE. If you want to go further than that, there are a lot of good tutorials on the subject.

Shawn

[Shawn Miller]

[Daniel Hartlehnert] “Hi Shawn,

isn’t that already taken care of by activating “Use Display Color Management” in the viewer window?”

Yes… but I usually prefer to convert linear to sRGB or rec 709 with that plugin, or a lookup table. Results just seem more of what I expect when using those methods, especially on an external monitor. Did you try the Color Profile Converter?

Shawn

[Shawn Miller]

Hey Daniel, if you want to work in linear, you have to output to a color space that your monitor understands. To do this, create an adjustment layer, move it to the top of the layer stack and apply the Color Profile Converter effect. On the Output Profile, select the working space that you intend to output to (sRGB, rec 709, etc.). If it looks too bright or washed out, select the Linearize Output Profile checkbox.

Thanks,

Shawn

[Shawn Miller]

Very nice work on the keyer BTW, Simon. I especially like the despill and edge tools. Would love to try it in AE on the PC some day… or even as an OFX plugin in Fusion 🙂

Shawn