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lethal_dose

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Posts posted by lethal_dose


  1. Attached is the OBJECT BUFFER MAKER SCRIPT.
    It makes Object buffers for all selected objects in a scene, names them and adds them to the render settings with corresponding sequential object buffer information.
    This will save tons of time in your workflow.
    Developed by RUSS GAUTIER at Perception Studios NYC.
    TO USE IT:
    Just copy or merge the python object into whatever scene you want.
    Then select the objects you want to make buffers for.
    FINALLY click on the RED "X" next to the python object.
    It will IMMEDIATELY Turn Off After You Click It and will have
    MAKING COMPOSITING TAGS,
    OBJECT BUFFER IDs and
    MULTIPASS Outputs for all your selected objects.
    Enjoy!

     


  2. Attached is the OBJECT BUFFER MAKER SCRIPT.
    It makes Object buffers for all selected objects in a scene, names them and adds them to the render settings with corresponding sequential object buffer information.
    This will save tons of time in your workflow.
    Developed by RUSS GAUTIER at Perception Studios NYC.
    TO USE IT:
    Just copy or merge the python object into whatever scene you want.
    Then select the objects you want to make buffers for.
    FINALLY click on the RED "X" next to the python object.
    It will IMMEDIATELY Turn Off After You Click It and will have
    MAKING COMPOSITING TAGS,
    OBJECT BUFFER IDs and
    MULTIPASS Outputs for all your selected objects.
    Enjoy!

     


  3. I agree with Sao_Bento regarding the use of OpenEXR or even TIFF sequences for superior file delivery of graphic animations. In addition, the option to have 16 and 32 bit file delivery makes those formats great for high end client work.

    I mainly use OpenEXR and TIFF sequence formats when delivering 3D render to clients along with the various beauty passes.

    I was only giving visitors to these forums an update to a new addition to my workflow using PNG QT codec for delivery of on-air broadcast movie files. Most of the final on-air composited AE projects are often paired down to 8bit color depth, so they are faster to work with since many of these broadcast companies are often working with slow ass computers and piss poor graphic cards.

    I hope this gives an insight as to where I was coming from working on a broadcast level.


  4. Head over to my blog to check out the link to the new x.264 quicktime export codec.

    Its pretty nice. Fixes the washed out color problem that occurs with the h.264 codec.

    You can check a comparison on my blog.

    http://kevingabriel2...ad-win-mac.html

     

    There is a sweet new PC version for the Super v.2010 build.52.

    Much more stable and way less crashes.

    For the PC version, head to the bottom of the download page and find the link to download.

    Follow the instruction and ENJOY.

     

    A good tip is to make all the setting changes to the GUI and close the program.

    When you reopen the program all the changes will be there and it will be a breeze to render your files.

    Otherwise I have found that when you change settings and process a render you tend to get crashes.


  5. Head over to my blog to check out the link to the new x.264 quicktime export codec.

    Its pretty nice. Fixes the washed out color problem that occurs with the h.264 codec.

    You can check a comparison on my blog.

    http://kevingabriel2...ad-win-mac.html

     

    There is a sweet new PC version for the Super v.2010 build.52.

    Much more stable and way less crashes.

    For the PC version, head to the bottom of the download page and find the link to download.

    Follow the instruction and ENJOY.

     

    A good tip is to make all the setting changes to the GUI and close the program.

    When you reopen the program all the changes will be there and it will be a breeze to render your files.

    Otherwise I have found that when you change settings and process a render you tend to get crashes.


  6. I just mentioned the use of quicktime movie with a PNG codec for movie file deliverables. Now there are some caveat to this workflow. When you playback the file directly from the quicktime file on your desktop the playback will stutter. However when you load the file into final cut, avid or After effects for playback and layoff to tape the playback is flawless.

    There is a about a 5-7% loss in the file quality as opposed to animation codec, but the file is one third of the size. This loss is not visible for playback on HDTV set boxes. The loss may be noticed with playback is used on movie theater digital setups. Now someone can give me feedback if they ever use this in movie theater playback setups.


  7. Hey guys,

    I wanted to pass on a new workflow practice I've have been using. While meeting with the development team at Adobe After Effects.

     

    They were showing me that I could render my deliverable projects using quicktime movie format but instead of animation codec but rather using the PNG codec. This set up creates a format that has 95% of the accuracy that you get with the animation codec, but one third of the size.


  8. Hey guys and gals,

    I was looking for some help on setting up an effect with the Mograph cloner object.

    So I complied some of the info that I found around the net.

    Click on the link to my blog:

    http://kevingabriel2000.blogspot.com/p/mograph-cloner-object-tips-and-simple.html

     

    I hope these tips are helpful and reduce the amount of fumbling that takes place that many people face when setting up Mograph object and animations.


  9. Great work for sure Bret. Simple and effective.

    I will be making use of this for sure, plus I will click on that donate button to reward all the hard work you put in to make my animation life easier.

    P.S. Can you direct us on mograph as to where we can get more pyton scripts such as yours that are in development.


  10. Okay people. Earlier this year I distributed an amazing codec for the Mac to use within Quicktime.

    But there was no simple option for use on the PC. After some research I found this freeware x.264 encoder

     

    Here is a stand alone x.264 encoder for the PC

    Super Encoder link and comparison

     

    Compared to other encoders by sound forge and other this is a simple one click method.

    Check it out. I know this will help in creating high quality reduced file size renders.


  11. Head over to my blog to check out the link to the new x.264 quicktime export codec.

    Its pretty nice. Fixes the washed out color problem that occurs with the h.264 codec.

    You can check a comparison on my blog.

    http://kevingabriel2...ad-win-mac.html

     

    There is a sweet new PC version for the Super v.2010 build.48.

    Much more stable and way less crashes.

    For the PC version, head to the bottom of the download page and find the link to download.

    Follow the instruction and ENJOY.

     

    A good tip is to make all the setting changes to the GUI and close the program.

    When you reopen the program all the changes will be there and it will be a breeze to render your files.

    Otherwise I have found that when you change settings and process a render you tend to get crashes.


  12. Chris Smith wrote:

    Yeah, never move the MoCam null or the MoCam render camera. They should always be at (0,0,0). Only the waypoint cams should ever move.

    If you move the others it will all get out of whack. The Target Depth settings for each cam do change the bias of the arc quite a bit.

    As a rule of thumb , set the target depths out long enough to touch the point of interest and it will orbit around it.

    However, from there you can offset the target depths of each waypoint cam to bias the movement differently.


  13. Also to get the camera to turn during the hold frames or move in any particular direction.

    You have to import a move null, make it that waypoint a child of a move null. Take off infinite.

    Zero out all the move null setting except for the direction you want the move null to operate in.

    Set small values like 1 or 2%. That will give you a nice smooth move when the camera has reached its hold position.

    Set the start time on the move null about 5 frame before your MoCam reaches that waypoint so the move appears continuous.

    As I figure out more of the MoCam operations I will post more write ups.

    Kevin


  14. Hi Chris,

    I went back and figured out some of the workings of the MoCam tool. Got it to align right (moving the waypoint null only and not the MoCam null).

     

    Your advice about setting in the target distance was invaluable of course (read in another posting).

     

    I wish there were some bias controls in the setup to help adjust the arc of the move as there is in Easy Cam.

     

    I wanted to post the problems I was having so that others can read and get a better sense on how to figure out the MoCam tool.

     

    This is still an amazing invention on your part. Thanks for making it.


  15. Chris Smith said...

     

    CS_MoCam is pretty much like 8 easycams linked together.

     

    Just make sure you use the "Target Distance" on the camera correctly or the cam probably won't fly the way you want it to.

     

    As a rule-of-thumb with MoCam, set each Waypoint camera's Target Distance till it reaches out and touches the object of interest.

     

    OCTOBER 27, 2007 3:31 PM


  16. Chris Smith said...

    Create a null and add an Xpresso tag on it.

     

    In the Xpresso window grab the last camera in each Action Cam or Docucam and drag it in.

     

    Then drag in any waypoint cams from MoCam you want to use.

     

    Then on the Action/Docucams output create a 'global matrix' port. Then on the Waypoint nodes create a 'global matrix' input port.

     

    Then just link them how you want. So an Actioncam can link to waypoint one and a docucam can link to waypoint 2.

     

    When these are linked, the waypoints do whatever the ActionCam (or any cam of any sort in C4D including a Steadycam) will do.

     

    JUNE 28, 2009 8:08 AM

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