Compositing.fr - Trucages et effets visuels

Toronto, Canada: July 9, 2012… eyeon Software Inc. announced today the shipping release of the highly-anticipated eyeon Connection® bridge to the AVID workflow. Strategically based upon AVID’s AVX2 architecture and eyeon’s 6.4 version release of Fusion™, Connection seamlessly opens the Media Composer®, Symphony™, NewsCutter®, and *Avid DS™ product lines to an infinite degree of creative possibilities.

Since Connection’s announcement at NAB 2012, the professional industry has seen an astounding response from the AVID community, including thousands of emails and forum posts:
“Eyeon Fusion Connection AVX plug-in will lead to a better world of node-based compositing from within an Avid interface”
“ka-boom! the nle war escalates, between... fusion and smoke”
“We have used Digital Fusion for years and have always wished our Avid would work like it in the composite modes with the tools of Fusion. We are excited.”
“eyeon Connection. Things are getting very interesting”
“I will 100% be checking it out because this is the game changer i think everyone has been waiting for.”
“Really smart move by Eyeon.”
“Fusion for Media Composer & Symphony is the big deal here.”
“It's very exciting to consider the possibilities. Having text burst into flame then morph into a supermodel--Fusion would definitely be my weapon of choice.”
“Adding Fusion to Avid is somewhat like the 'connectfx' nodal possibilities within Smoke2013, but still retaining the editing capabilities of Avid (e.g. Multicam, Audio Scrub, VO punch-in, 5.1 audio, Trimming etc).”
Key Features
•Supercomputing node-based VFX and Stereoscopic toolsets directly accessed in the AVID timeline, auto-populating AVID clips.
•Simultaneous use of software on systems or network, with concurrent editing/rendering.
•Drag-and-drop simplicity with infinite scalability via 64bit GPU-accelerated compositing and motion graphics.
•Unprecedented Particle generation and access to 3D environment and virtual extensions.
•Server storage and importing/exporting process eliminated.
•Dimension’s optical flow and disparity mapping technologies define a superior level of fix-it-in-post and Stereoscopic solutions.
•VFX processing via multi CPU and GPU.
•Advanced Fusion toolset includes Primatte5.
•Fusion 6.4 delivers transcoding lab controlled by AVID and Fusion.
•HDRI floating point color pipeline.
•ARRI®, RED®, Phantom®, and other native camera formats integrated.
Pricing and Availability
Connection with AVX2 support is included as part of Fusion and Dimension 6.4 at no additional charge for current subscription owners. Please contact sales@ eyeonline.com for more information.
* Avid DS support available upon AVID release of DS 11 QFE1.

Grâce au format XML, le logiciel ClipExporter permet aux utilisateurs Final Cut Pro X d'exporter rapidement des plans à traiter dans The Foundry Nuke ou dans le logiciel de matchmoving Syntheyes.

Lisez l'article détaillé de notre confrère Erwan à ce sujet : http://yakyakyak.fr/?p=9238

The Foundry montrera la semaine prochaine, au NAB 2011, les nouvelles fonctionnalités du prochain Storm, Mari 1.3, Nuke & NukeX 6.3 (nouvelles splines, grid warpers, 3d particles, planar tracker, denoiser, piste audio scratch track, deep 3d compositing ...), et une preview de Katana.

Retrouvez The Foundry au stand SL5625 du 11 au 14 Avril au NAB, Las Vegas.

London, January 4th, 2011 – Leading visual effects software developer, The Foundry (www.thefoundry.co.uk), today provided an insight into its plans for KATANA.

KATANA is an environment for preparing 3D assets for rendering. It allows artists to define and control look and lighting whilst maintaining performance with very large datasets. KATANA operates non-destructively using a rule-based approach, allowing modeling, look development, animation and lighting teams to work in parallel.

Originally developed in house at Sony Pictures Imageworks to handle increasingly complex workflows on productions such as Spider-Man and Superman Returns, the commercial development of KATANA was taken on by The Foundry in November 2009 as part of a unique collaboration between the two companies.

The Foundry's engineering effort, in consultation with a broad range of users, is ensuring KATANA becomes a flexible product that can ultimately integrate with any pipeline and any renderer in any facility.
These consultations have now developed into much more in-depth collaborations with a number of key sites including MPC and Digital Domain who are now using KATANA in alpha.

“Since Inception KATANA has been one of the pillars of the production pipeline here at Imageworks and continues to prove itself on such rigorous productions as G-Force, Watchmen, Alice in Wonderland and animated features such as Monster House, Surf’s Up, Cloudy With A Chance of Meatballs and The Smurfs."

“We are excited to see KATANA cutting its teeth outside the halls of Imageworks and becoming available for artists and facilities everywhere.  The Foundry is a tremendous partner and by broadening the adoption of KATANA and product support, a new generation of artists and productions can benefit from this innovative production-proven technology.”
Rob Bredow, Chief Technology Officer, Sony Pictures Imageworks

"Many brilliant technical innovations come out of production, but historically those breakthroughs remain only within the production company.  The Foundry works with digital studios to make those innovations widespread, which benefits the entire industry.  I look for KATANA to have a similar impact on the industry that Nuke has achieved."
Cliff Plumer, Chief Executive Officer, Digital Domain.

"Like most large VFX studios, we maintain a complex suite of proprietary software to enable us to render ever increasing complexity, quantity and visual quality. We are excited about KATANA's potential to offer a solid, flexible, off-the-shelf foundation that we can build upon so that we can focus more of our efforts on what we do best, pushing the boundaries of CG, trusting The Foundry to do what they do best, delivering high quality, scalable software."
Davie Johnston, Director of Technology, MPC

As the first commercial dedicated scene development tool, KATANA will enable facilities large and small to build highly scalable lighting pipelines without a large internal engineering effort.

KATANA is scheduled for commercial release in 2011.

Le premier logiciel de montage que j'avais pu tester chez France Televisions il y a maintenant 11 ans est disponible désormais gratuitement en opensource. Voici les specs actuelles, en anglais :

Academy® and Emmy® award-winning Lightworks was introduced in 1989 as the first and most advanced non-linear editing system on the market. Used by editors such as Chris Gill and multi Oscar-winning Thelma Schoonmaker, Lightworks offers intuitive controls, advanced real time effects, 2K native support with DPX or RED, and multi-camera editing features that remain unmatched. With wide support for codecs, including EditShare’s Universal Media Files, Lightworks achieves a level of unsurpassed interoperability by offering seamless media sharing with Avid and Final Cut Pro. This new workflow enables Lightworks artists to collaboratively edit projects with a much wider group of editors.
Feature Highlights:

FORMATS AND CODECS
AVI, QuickTime, MXF, DPX and RED R3D, DV, DVCPRO 50, DVCPRO HD, XDCAM HD, XDCAM EX, P2, AVC Intra, DNxHD, ProRes. Real-time up and down-scaling, from SD to 2K.

MULTI-CAM
Advanced multi-cam editing with unlimited sources and dual-SDI outputs, so you can simultaneously view your source angles in sync with your edit.

THIRD PARTY SUPPORT
Support for Adobe After Effects, Boris, Combustion, Sapphire and many more.

EFFECTS
Real time video and audio effects, including primary and selective colour correction, are all guaranteed in resolutions up to 2K, thanks to Lightworks powerful GPU based effects engine.

AUDIO
Sub-frame audio editing, direct-to-timeline voice over tool, Mackie protocol support, real time playback of mixed sample and bit rates, and guaranteed real time multi-track audio.

PROJECT SHARING
The most advanced Project Sharing capabilities available, allowing editors to access each others’ work with the click of a button. Instant Save technology ensures you’ll never lose your work again.

OUTPUT
Full-screen video output through a DVI-attached LCD display, with support up to 2K Full Frame, offering an inexpensive monitoring option, with no need for SDI hardware.

MULTI-CHANNEL INGEST
Lightworks is the only NLE available to offer multi-channel ingest, with support for synchronised capture, making it ideal for advanced 3D Stereoscopic projects.

Plus d'informations (dont téléchargement) à ce lien

Mon réseau composé de plusieurs machines connectées en Gigabit via un switch de la même puissance avait tendance à planter lors de transferts massifs, comme c'est le cas pendant du rendu en réseau d'images relativement grandes. Le débit était presque acceptable grâce à la compatibilité et activation dans le gestionnaire des périphériques de l'option Jumbo Frames avec des MTU en 8192 et des buffers en Receive & Transmit à 1024. Mais pourtant, même après 2000 reboot lors de tests de valeurs pour chaque variable, le réseau plantait au bout d'un peu moins d'une heure. Dans l'urgence de rendre des productions en temps et en heure, on fait avec : on désactive / réactive la carte réseau et c'est reparti. Mais en fait, il me suffisait de mettre l'option de ma carte réseau "Task Offload" sur Off, et pas de plantage depuis de longues heures de rendus multimachines en HD à  360°. En plus il fait beau dehors. J'espère que ça sera utile à certains renderers d'entre vous.

Notre confrère 3D World nous propose un article en anglais sur l'optimisation de vos tracking 3D en 10 sections explicatives:

1. Manual tracks
2. Wireframe display
3. Determining point position in 3D space
4. Automatic tracking
5. Lens distortion
6. Scripting
7. Manually editing the calibration
8. Body tracking
9. Tracking for modelling
10. 3D for 2D

A lire ici >>>

Pour revoir ses bases et accroître ses connaissances sur le format d'Autodesk FBX permettant un échange d'éléments 3D complets entre différents systèmes et logiciels, je vous invite à consulter, en anglais le white paper à la fin de ce post.

Extraits :

"One of the most widely used 3D interchange formats on the market, Autodesk® FBX® technology is designed to enable workflows built around multiple 2D and 3D digital content creation applications. Such workflows are the lifeblood of large production houses and small boutique studios. In this white paper, you learn how FBX technology can help improve workflow efficiency and productivity and how to use it to enable interoperability among Autodesk® 3ds Max®, Autodesk® Maya®, Autodesk® MotionBuilder ™ software, and other applications."

"FBX is much more than a file format. The FBX technology family of tools—SDK, plug-ins, and viewer, as well as the FBX file format—offers a comprehensive data interchange solution. In the same way that PDF files let you share documents with users who do not own the word processor or page layout program those documents were created with, FBX technology lets you exchange data between 2D and 3D applications. The FBX file format, however, is more flexible than the PDF format, because data passed between applications via the FBX file format retains its ability to be manipulated."

"The FBX technology family of tools provides universal 3D asset interchange, helping to break through data compatibility
barriers. FBX is a platform-independent file format that enables you to access legacy content after upgrading your pipeline to take advantage of the latest 3D tools; exchange digital assets with other studios whose pipelines are standardized on tools different from your own; and use multiple 3D tools to realize your creative vision in the most efficient manner possible."

>>> White Paper à propos du FBX (doc PDF) ici en lien.