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lundi 12 septembre 2011

Conformation Avid Media Composer vers Autodesk Smoke via le AAF

Une vidéo tutorial expliquant le workflow pour effectuer une conformation d'un montage sur Avid Media Composer vers Autodesk Smoke via le AAF pour le finishing :

lundi 4 avril 2011

The Foundry au NAB 2011

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.

jeudi 20 janvier 2011

PACE adds three more Sids for 3D

With demand for 3D production continuing to rise, 3D innovation company PACE in Burbank recently added three more Quantel Sid Stereo3D workstations to its arsenal. This purchase brings the Stereo3D pioneer's complement of Quantel S3D systems to a total of seven.

The new additions are currently supporting multiple productions: 'The Three Musketeers', 'Final Destination 5' and 'Journey to the Center of the Earth 2'.  PACE already has placed a Sid Stereo3D workstation on the set of Michael Bay's 'Transformers 3' and a Pablo Stereo3D grading system for Martin Scorsese's 'Hugo Cabret'.

Vince Pace, CEO of PACE, has long been a believer in Quantel technology. "Quantel personifies quality engineering, equipment and support," says Pace. "Our latest purchase is an ongoing validation of the relationship between Quantel and PACE to provide proven workflow solutions at the point of capture and ensuring that exceptional 3D gets on screen. The Sid's unique ability to QC the footage at the point of capture is an added benefit that productions are taking advantage of."

PACE created the company's "SLATE² SCREEN(tm)" effort to achieve superior 3D results in a more cost-and time-efficient manner. The workstations are the heart of PACE's On-Set Stereo Lab(tm) workflow, which provides interactive 3D control in the field and during dailies for the cinematographer and director.

 The Sid toolset includes real-time Stereo3D operation at up to twin HD-RGB, with full, interactive control of convergence, color balance, sync alterations, eye comparisons, imaging errors and editing of both streams simultaneously.

mardi 4 janvier 2011

KATANA - 3D scene assembly, lighting and look development

London, January 4th, 2011 – Leading visual effects software developer, The Foundry (, 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.

mercredi 1 décembre 2010

The Foundry launches open Beta for STORM

London, UK. December 2010. Leading visual effects software company, The Foundry, today launched an open beta of their brand new digital cinema camera workflow product, STORM.

the foundry storm

STORM addresses the growing complexity of shooting digital, performing a variety of core tasks on and near-set and bringing camera and post production closer together.


Quick and easy to operate, STORM can rapidly navigate and playback footage allowing producers, directors and editors to view takes in high resolution without interruption or delay.  Anyone who has done basic colour correction and editing will feel comfortable sitting with STORM and cutting together a rough edit or exploring a ‘look’ interactively with the cinematographer. Supporting the digital technician, STORM provides simple and intuitive metadata tagging and timeline re-conforming to ensure the exchange with editorial and post production is sped up significantly.


The Foundry is making this public beta widely available in response to the huge amount of interest shown in STORM since it was first shown at IBC this year. “STORM has been developed in very close collaboration with users, and the open beta is a chance to gain wider feedback - ensure that STORM lives up to expectations and continues to develop to meet the growing needs of the digital camera community.  The Foundry looks forward to seeing the STORM platform grow to deliver new and exciting things in the future .”  said Richard Shackleton, Head of Product Development at The Foundry.


The STORM beta can be downloaded from and is FREE to use until the 1st March 2011. It requires a MacBook Pro, Mac Pro or iMac with at least 2GB RAM running OSX 10.6.4 or later. STORM is optimised for RED R3D footage and will use a RED ROCKET card if one is installed.


Ted Schilowitz, Leader of the Rebellion at RED, adds:

“Having seen STORM in detail, I’d describe it as REDCine-X on steroids.  Well worth the time to investigate it's capabilities if you are involved in post production, working with RED footage.  The Foundry have looked at RED workflow in great detail and taken logical integration with RED to a very evolved state.  We’re very excited that those shooting and posting RED all over the world will soon have access to this software.”


More information about STORM including case studies and introductory videos can be found on our website

Lightworks 2010 opensource disponible

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:


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.

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

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

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.

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.

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.

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.

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

mercredi 24 novembre 2010

Camera checklist for HDSLRs

Une vidéo en anglais mentionnant quelques points pratiques à vérifier sur votre DSLR avant de tourner.

jeudi 2 septembre 2010

Render Farm & Réseau capricieux

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.

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