Tero Ahlfors
3
COW Coins
1
Solve Coin
Forum Replies Created
-
[ryan elder] “and this will be a lot of of frames and a lot of work”
Here’s the thing. Not every VFX shot work can be automated and automagically plugined to where it needs to be and you’ll need to work on it manually. Especially if it is an extreme effect on a piece of footage that wasn’t shot to help in the way to help the VFX artists. I’ve done a few day to night shots but the crew knew how to shoot it and it was pretty straightforward.
-
There’s a free version of Resolve so you could easily test if it works.
-
Well there’s no format that you can export that runs 600fps so could you work in a standard frame rate comp with the 600fps footage?
-
Node based compositing works really well in a situation where you are comping together a CG shot from a lot of passes that are used and reused a lot. It’s easy to group different parts and keep them in check. For motion graphics I prefer the track based temporal view versus the node based spatial view of the whole comp.
-
[James Strecker] “I understood every word of that except “EXR half float,” haha. Would you mind explaining this?
“https://en.wikipedia.org/wiki/Half-precision_floating-point_format
-
Are you exporting out individual clips or single clip?
-
[James Strecker] “Is there some magic way I can do 16-bit, lossless, and not gigantic file sizes?”
Probably in the same way someone can have their cake and eat it too. By definition lossless is lossless. That said people usually use these lossy but “visually lossless” intermediate codecs like Prores, DNxHD or Cineform.
[James Strecker] “what is the point of working in 16-bit depth in AE?”
The math is working differently with the different bit depths. There will be a difference (especially in gradients) if you’re comping in 8, 16 or 32 bits. Also there’s probably no service/basic media player that will accept 16 bit files anyway.
We do our CG shots in EXR half float and that’ll keep the quality high through the whole pipeline and only at the delivery stage we render it down to whatever we need to deliver.
-
[Zachary Rescuelot] “I’ve heard you need CUDA or something”
Back in the day the official CUDA support was really limited and although you could use a text editor to add your Nvidia card to the list (if you had enough VRAM) there were lot of glitches with those.
-
[Zachary Rescuelot] “1. Allocate all the cores (8 of them AMD chipset) for parallel usage of 64-bit effectively”
In Premiere this is automagic.
[Zachary Rescuelot] “2. Allocate Rendering options for Crossfired ATI Graphics cards”
I think CS5 didn’t have OpenCL support until later so there’ll probably be no help from that setup.
[Zachary Rescuelot] “3. Importing 4k Video with H.265 codecs (Sometimes called H.264+ {plus})”
No support for that in CS5 unless you can find some third party QT/other codec for that.
-
[Eric Merklein] “Who ever is doing the updating to this disaster should also take a look at Multicam.”
Herb does a lot of multicam projects and offered you help in the other thread.