Posts Tagged ‘DaVinci’

Highlights from IBC 2011…

James Cameron hates gurus. He imagines them in white lab coats, telling people what they can’t do. On the other hand, him and Vincent Pace want your money in return for certification.

In a nutshell, Cameron Pace Group is trying to become the authority on all things 3D. Their idea is that everything from the workflow and kit used during a shoot, through to the consumer equipment used to playback 3D content will be branded with their logo, much in a similar way to THX and audio equipment. Will they be successful? Well their showreel is certainly impressive.

Adobe has acquired IRIDAS, they of the wonderful SpeedGrade software. Looks like Adobe could be dipping its toe into digital intermediate waters at last. Blackmagic Design’s DaVinci Resolve is now available for Windows (in addition to Mac and Linux). Filmlight’s Baselight is now available as a plugin for The Foundry’s Nuke, which is a nice idea, especially considering that their Final Cut Pro plugin may turn out to be a waste of time.

The Foundry themselves were introducing a new workflow tool, Hiero. It’s the first stand-alone conforming system I’ve seen (that wasn’t just a cut down grading system at least), and there’s a beta programme if you want to take a closer look.

One of the more interesting products (although not a new one) was Colorfront’s On-Set Dailes. It will ingest and output any format under the sun, has a gorgeous interface, and is the only digital dailies system that I know of that will do sound sync. If you are involved with dailies in any capacity, take a look at it.

There were several “alternatives to FTP” on offer, like TixelTec and FileCatalyst, boasting high-speed transfers, but conveniently neglecting to point out that the transfer speed is almost entirely limited by the lowest speed of either party (oh yes, and FTP is simple and also free to implement). On the other hand, the FileCatalyst Webmail system, which is designed to be a user-friendly front-end to file transfers, is worth a look.

Finally, anyone interested in where colour grading might be going next, should take a look at Bakery Relight. It’s a system for 3D animation rather than post-production, With more work being done in 3D, and with advancements in 2D-to-3D technology, it’s only a matter of time before we start to see tools like that in the grading suite.

 

Posted: September 18th, 2011
Categories: News
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Highlights from NAB 2010…

There were a few interesting things to see at NAB this year. Not as varied as previous years have been, perhaps due in part to an absence of many of the prominent companies, but good all the same.

First up, Adobe. Of course they launched CS5, upgrading their entire product line. In total, there are dozens of improvements across the line, but one, seemingly innocuous new bit of technology dubbed “content-aware”. This was first demonstrated to me in the form of a “roto brush” in After Effects. The idea being that you draw a loose selection around a foreground object, and After Effects then determines exactly what it is you are trying to isolate. After a few seconds delay, it automatically redefines your selection to create a very convincing roto matte. And best of all, it does it for all frames in the sequence, not just the current one. There are also controls for fine-tuning, such as to account for soft edges, motion blur and so on. Not sure how feasible this would be for feature visual effects work, but certainly for everyone else it will be a real time-saver.

The most jaw-dropping moment of NAB for me was the demonstration of the content-aware deletion in Photoshop. There was in image of a horse in a field. A selection was drawn around the horse, and the content-aware deletion was applied. The horse was removed from the scene. Let me back that up a bit. The horse was deleted precisely, which is kind of impressive. But more amazing is that rather than leaving an empty space in the image, the “hole” was filled in by interpolating the content (not just the pixels) of the image. By which I mean the fence behind the horse was automatically generated. Even as I think about it now, I still think it must have been some kind of trick. Wow.

Another talking point has been BlackMagicDesign (who recently acquired DaVinci) porting the Resolve grading system for the Mac, and then practically giving it away for under $1000 (although if you want the control surface, that will still cost you an additional $30,000 or so). The technology looks a little dated when compared to some of the heavy-hitters out there, but come on, at this price it’s competing with Apple’s (almost unusable) Color.

Arri was showing off its new Alexa camera, which seems to be taking on the Red One, although at a higher price point (and I’ll skip comparing the picture quality of the two to more knowledgeable people, personally I think they produced quite similar results when all is said and done). And speaking of Red, there were a few glimpses of the new Epic camera at some of the events.

The FCP user group, although a fun night out, was desperately lacking any talk of Final Cut Pro (with more time devoted to talking about Avid than Apple!), however there was an interesting concept presented, which was the notion of using the iPad as a control surface for grading (or anything really), which I completely agree is an excellent application (of an otherwise questionable product).

Finally I want to thank everyone I spoke to about Synaesthesia. Based on those conversations, I’ve got a couple of new short-term plans for new features. I’m not going to reveal too much now, but one area I will be focussing on is methods for verifying data transfer, and the other is to do with different workflows. Demoing the software on a rusty old laptop also revealed that I need to spend some time looking at speeding up certain processes, so there will be a big push on that too.

Posted: April 16th, 2010
Categories: News
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