Shawn Miller
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COW Coin
Forum Replies Created
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[Oliver Peters] “To my knowledge RED holds the patent for recording compressed RAW formats in-camera. I’m not exactly sure how BMD got around that.”
I thought, they got around it by doing a partial de-bayer in camera, so that the output wasn’t “technically” raw. Although, you bring up an interesting question – would putting ProRes RAW in a camera violate Red’s copyright? Also, how are Kinefinity and Canon getting away with compressed raw capture in their cameras – could they be paying RED a licensing fee… or, are those lossy formats?
Shawn
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We’re definitely in sync on the current state and possible missed opportunities for Fusion Studio!
[Simon Ubsdell] ” If I were doing a lot more VFX, it would be ridiculous to consider anything other than Nuke … and that’s a really big shame. The market really deserves better than the total dominance of just one very aggressive player.”
You’re definitely preaching to the choir here. ☺
Shawn
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[Simon Ubsdell] “In a very real sense the use of Fusion as a titling engine very closely mimics the FCP X/Motion relationship. Would you agree?”
I do agree, that’s what I meant about Fusion becoming BMD’s Shake. It seems like they’re taking the parts of the application that are useful to editors, and downgrading the program to a helper application (as you pointed out). I like what they’ve done to make Fusion more accessible to a wider audience, but I think they’re missing an opportunity to develop Fusion Studio into the kind of hero VFX application that can do everything that Nuke does, at a fraction of the price.
What are your plans for compositing software going forward? I’ve heard good things about Natron. ☺
Shawn
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[Simon Ubsdell] ” Everyone hates the Foundry business model, but that doesn’t stop it being the totally dominant player in this market sector.”
Agreed on all points, especially this! I’ll continue to use Fusion Studio for as long as it’s useful, but I don’t have a lot of faith that it won’t become BMD’s Shake.
Shawn
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[Simon Ubsdell] “The point to consider here is that Fusion has been a tool for high end VFX artists since the last century. It was built specifically for that purpose and it served it very well. That group of users will be extremely dismayed. This is a major downgrade for Fusion and those users will now definitely desert it. That might not include you, but let’s not dismiss them quite so casually.”
It’s unfortunate, but I think you’re right Simon. Fusion is fantastic… but what incentive do long time VFX users have to stay with an application that’s only seen one update in 2 years and virtually no marketing? Especially when they work in an industry that changes so quickly and is so heavily dominated by Nuke? Without those experienced artists, what will inspire new users to even try the standalone application?
Shawn
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[Andrew Kimery] “Another NAB where everyone talks about Resolve… and then no one currently using PPro, X or Avid actually switches to Resolve as their full time NLE. ;)”
I know a number of people (including myself) who are using Resolve in addition to their main NLE. I wonder if more of us will be wandering into Resolve for straight editing tasks more often as the software gets more mature. I’m definitely anxious to see what BMD have done with r16. On a side note, I’m worried about the future of Fusion Studio, they seem to have abandoned it for Fusion embedded (my term).
Shawn
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That’s good to know, thanks Michael! I’m in the middle of a project at the moment, so I probably won’t get a chance to try it this week. I’m really curious though.
Shawn
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[Michael Hancock] “I tested it on a few clips this morning. Overall, it’s been really impressive.
I had an interview shot outside with shifting daylight and a textured shirt with a logo embroidered on it. I set it up to remove the logo, and it got about 90% of the way there. The issues was mostly subtle color shifts as the talent moved and as the sunlight changed.
Then I tested it on an ideal shot – talent shot on white cyc, wearing a dark solid color shirt with a name tag. I removed the name tag and it took about 10 minutes to set up, analyze, and remove, and it was about 99% of the way there.
First impressions – it will be super useful for quick, simple logo/blemish removal, and possibly for bigger stuff (or at least getting it most of the way there with the bigger stuff). Looking forward to using it in a real project.”
Do you feel like you have a fair bit of control of the effect after the removal process? How much tweaking can you do after the solve?
Shawn
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[Jeremy Garchow] “It’s like the Mocha’s Remove module, but built in. I’d be curious to see how it stacks up because Mocha’s remove tool is pretty great!”
I have the same question. I’ve been using Mocha Pro for roto and object removal for years… but an AI assisted object removal tool… WHAT?!?! I can’t wait to try it for myself.
Shawn
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[Michael Gissing] “Unless he allows BRAW on the older Ursa Mini 4.6 it’s my only choice for RAW. I will be jumping into a BMPCC4k soon and I wish I could just have one codec on both cameras but I’m reading the tea leaves that the older minis are left behind. Shame to not support those of us who waited patiently and supported the 4.6”
I’m in a similar situation. I have a BMP4k on order, but I still have an original UM4.6k… I don’t think BRAW will come to the older Ursa Mini’s. Strange thing though, if cDNG is causing a big enough headache for BMD to EOL the UMPro… why not EOL the original 4.6k and the UM4k as well? It seems odd to stop production on a newer camera but keep two older product lines going.
[Michael Gissing] “cDNG is a cludge in post.”
I think I’m the only one who doesn’t mind cDNG sequences. Then again, it’s probably not that common for a camera operator to regularly deal with multi layered OpenEXR and .tiff sequences. ☺
Shawn