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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Neat trick animating R3D Flut in Nuke

D Anderson said:
Jake, your blood pressure must be through the roof! Un-grit those teeth! lol!
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D.
You haven't contributed much to this forum in a way of helping others or demonstrating concrete knowledge of various aspects of film production or post, yet, you'd wasted no time attacking me and acting like a jerk. If you have to add something meaningful to this or any other conversations, I'm all ears, otherwise, what is the point of your presence here?
 
jake blackstone said:
D.
You haven't contributed much to this forum in a way of helping others or demonstrating concrete knowledge of various aspects of film production or post, yet, you'd wasted no time attacking me and acting like a jerk. If you have to add something meaningful to this or any other conversations, I'm all ears, otherwise, what is the point of your presence here?
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I applaud your contributions - I`ve stated before there are too many people NOT qualified to give help on REDUSER. You seem to be one of the qualified.

However, is it not helpful for someone to point out your posts read less than professional with your furious tone?
 
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D Anderson said:
I applaud your contributions - I`ve stated before there are too many people NOT qualified to give help on REDUSER. You seem to be one of the qualified.

However, is it not helpful for someone to point out your posts read less than professional with your furious tone?
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Seriously D, please join Robert on my shit list and please ignore my posts. Cause from now on I will be ignoring yours…
 
PatrickFaith said:
Jake I really appreciate your comments. They have helped me in understanding the difference between color matching for compositing, then doing a full color grade in a package designed for it after edit phase. (i.e. r3d raw & vfx -> compositing -> editing -> color grading).
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Patrick.
I appreciate the kind words.
It seems, that you're a Nuke guy looking for ways to increase your productivity and quality.
In that case I strongly recommend you join beta testing of Baselight Editions plugin for Nuke.
http://www.filmlight.ltd.uk
Just click on "join now" in top right corner.
You then can start really using world class color grading within Nuke and the best part, files are completely interchangeable between Nuke, full blown Baselight, as well as FCP, AVID or Nuke.
Also, you'd be using Truelight, so all images on any FilmLight platform will look exactly the same, no rendering needed.
I promise, you will not be disappointed and the best part, if at some point you decide to purchase it, all you'd need to pay is just $995 and that price covers all plugins for FCP, AVID (Mac or Windows) or Nuke.
Let us know how you like it.
 
Bob Gundu said:
Will baselight ever be available in FCPX?
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I talked with FimLight about it and they said that FCPX architecture is pretty restrictive and to implement Baselight Editions for FCPX will be quite difficult. But that was a while ago. May be they changed their mind now seeing an upsurge in number of users. Even now FCP plugin is pretty slow. It's due to the old FCP architecture. I haven't played with FCP plugin lately, but FilmLight was telling me, that they increased speed quite a bit. On the other hand, Avid version is awesome. It is fully GPU accelerated and the response is almost perfect. Even cloud tracker works.
Download the 30 days free demo, if you'd like to see it for yourself.
 
D Anderson said:
You must be a joy to work with.
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Actually I am. Have any more brilliant retorts or better yet, anything of substance to add to the conversation? See, people here actually do ask for help or offer their advice or share their experiences. Jerks like you fill pages with useless noise, greatly contributing to the exodus of people of knowledge. You must be very proud. What is it that you do D? How do you contribute to this forum, beside waisting space?
Still waiting for examples of your work D. Must be great to criticize others, while hiding in anonymity…
 
jake blackstone said:
Actually I am. Have any more brilliant retorts or better yet, anything of substance to add to the conversation? See, people here actually do ask for help or offer their advice or share their experiences. Jerks like you fill pages with useless noise, greatly contributing to the exodus of people of knowledge. You must be very proud. What is it that you do D? How do you contribute to this forum, beside waisting space?
Still waiting for examples of your work D. Must be great to criticize others, while hiding in anonymity…
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I wasn't criticizing your work - I was pointing out your attitude stinks and your skin is way too thin. Something you confirm with every post.
 
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D Anderson said:
I wasn't criticizing your work - I was pointing out your attitude stinks and your skin is way too thin. Something you confirm with every post.
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Just as I thought, that you're are a little weasel quick to criticize, but afraid to be on the receiving end, while hiding behind an anonymity. You're not contributing anything useful and I'm done wasting my time...
 
jake blackstone said:
Just as I thought, that you're are a little weasel quick to criticize, but afraid to be on the receiving end, while hiding behind an anonymity. You're not contributing anything useful and I'm done wasting my time...
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You have proven me wrong.

Your attitude does not stink and you are not overly sensitive.
 
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D Anderson said:
You must be a joy to work with.
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Actually Jake is pretty awesome to work with - our collaboration has taken my work to a whole new level.

Jake is very passionate, and very generous - and also very serious about his trade (as all of us should). What I love is he understands, empirically, the notion that one person "can do it all" is generally flawed: by and large great work is done in concert between a great Director, DP, Colorist, Gaffer, Editor...ie a team. Grading is still a massive part of the professional/traditional work flow: I can't imagine anything with a real budget not getting seriously graded by a colorist, especially in this digital age.

I can understand why Jake is getting upset: he may feel like his entire profession has been put into question.

Colorists, like editors, are indispensable collaborators that can help bring out the greatness in your work (without them, you're odds surely start to diminish). You never see them on set, but you'll feel their presence...magnified...every time you see the final product.
 
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thanks for sharing, patrick. you never know when you may want some quick trick up your sleeve...

as for a panel in nuke, i would LOVE to see that, for compositing - or coloring or whatever the heck you wanna use the program for. i think we're pretty close to convergence here. although i'm not saying at all that you don't want dedicated compositors and a dedicated colorist in post, what i am saying is that crossover skills are an absolute must. you can't really composite without understanding color correction, and in my opinion you aren't going to be a powerful colorist without compositing magick. i've 'colored' stuff in nuke, that's how i got 'into' color and if there's some seriously heavy lifting that needs to be done, compositing techniques are what you're going to be doing, and in that case i'd just go ahead and process the shot all the way through in nuke and not touch it again if i don't need to. obviously, you can do things however you want (and obviously there are best/better practices for quality/time/hassle-factor) and all that matters is where you end up. personally, i don't re-render/process anything unless there's a reason to, so generally i don't like to do something in nuke and then do something to the same image in resolve. in certain workflows you will and that's not a big deal. different scales.

and as for the last few pages of this thread... wtf guys, please grow up. no need for personal attacks. i like y'all, but c'mon. let it go... (:
 
jake blackstone said:
I talked with FimLight about it and they said that FCPX architecture is pretty restrictive and to implement Baselight Editions for FCPX will be quite difficult. But that was a while ago. May be they changed their mind now seeing an upsurge in number of users. Even now FCP plugin is pretty slow. It's due to the old FCP architecture. I haven't played with FCP plugin lately, but FilmLight was telling me, that they increased speed quite a bit. On the other hand, Avid version is awesome. It is fully GPU accelerated and the response is almost perfect. Even cloud tracker works.
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The Avid version was first with GPU rendering, but the current FCP version has the GPU renderer too. I don't find it slow. Tracking is not available in the FCP version, due (as I understand it) to limitations in what FCP plugins have access to.
 
Nick Morrison said:
What I love is he understands, empirically, the notion that one person "can do it all" is generally flawed: by and large great work is done in concert between a great Director, DP, Colorist, Gaffer, Editor...ie a team. Grading is still a massive part of the professional/traditional work flow: I can't imagine anything with a real budget not getting seriously graded by a colorist, especially in this digital age.
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That's very true. It's unfortunate that a large number of low-budget projects and cable shows put the editor in the position of doing a cursory color-correction pass in the edit bay, which doesn't have nearly the quality or precision of going through a true color-correction process in Resolve, Baselight, or any other dedicated program. A large part of that is the experience that the colorist brings to the table, because this will more than likely give the director and cinematographer more options than they could ever realize on their own.
 
jake blackstone said:
…FCPX architecture is pretty restrictive and to implement Baselight Editions for FCPX will be quite difficult…
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The changes in the plugin architecture brought in with FCP X 10.1 may change this. There is now the option to have a button in the FCP X UI which pops up a custom UI. This is rather crucial to the way Baselight Editions works.

Now FilmLight need to decide whether the potential market is worth the development effort required.

Also, not to cast aspersions on FCP X users, but a wider user base may create a requirement for a higher level of support that FilmLight need to decide whether they want to deal with.
 
Marc Wielage said:
What I said is that you can dynamically change the exposure in color-correction, which is true. I don't think tweaking the FLUT either way results in any visual difference than knocking the level up or down 20 units. It's trivial.

I do agree that doing this kind of work in a compositing program like Nuke is ill-advised, because it's not what the program was designed for. It's a compositing program. And by the same token, I'm not a fan of doing compositing in Resolve, even though you can technically do it. And I'm also not a fan of doing audio mixing in a video editing program like Avid or Final Cut Pro. It's just a question of using the right tool for the right job. You can use a wrench as a hammer, too, but it's a lot better 99% of the time just to grab an actual hammer.
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I say use whatever works. As long as you don't have deadlines looming or people in a room behind you waiting, the result is all that matters.
Software like Nuke and AE can yield amazing looks and fresh results simply because the operator is solving the problem from a different perspective creatively.
 
Paul Schneider said:
I say use whatever works. As long as you don't have deadlines looming or people in a room behind you waiting, the result is all that matters.
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That's true to a point, but I have yet to work on a project where time and money aren't critical factors.

Software like Nuke and AE can yield amazing looks and fresh results simply because the operator is solving the problem from a different perspective creatively.
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They can, but I'd guarantee the look can be matched in five other programs, particularly when you open that up to plug-ins. A lot of it boils down to how efficient you can get, and how fast you can respond to the cinematographer's or the director's specific request for a look.

Again, it's just a question of using the right tool for the right job. By the same token, as I was just telling a producer today, it's very unwise to try to do a sound mix in an editing program like Avid or Final Cut, because the tools are just inadequate for the job. While you technically can do a mix that way, nothing can replace doing the mix on a real mixing stage in Pro Tools with big full-range speakers. No way can you do the same thing with computer speakers on a modest editing system. I would also be against trying to do effects in Avid or Final Cut Pro, because you get much more precise performance in a dedicated compositing tool like Nuke or Maya.

Screwdriver... wrench... hammer. Three different tools. Compositing... color-correction... sound mixing. Three different processes. Use the right one with an expert at the controls, and there are no compromises.
 
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