Archive for July, 2011

17
Jul
11

we need to make it bigger

Thanks to Patrick Inhofer at The Tao Colorist  for this link.  Support Patrick, and results oriented creativity, by clicking here for the best weekly email I receive.

proactively • it should be bigger.  but it’s good. • peter

05
Jul
11

identityfx 3d conversion case study

Since migrating to California back in February, IdentityFX, Inc. has been my home and training grounds for pioneering stereoscopic 3D production and post production artistry.  I can personally attest to how instrumental a tool MochaPro is for the conversion artist creating depth maps in a Nuke-centric pipeline.  Planar tracking combined with a skilled and talented rotoscope artist makes MochaPro a tool with the capacity to speed up production results and meet ever-shortening deadlines.

The MochaPro interface is straight forward and copying shapes for Nuke import is a breeze. The fact that Ross Shain and his team are so attentive to the current and future needs of their customers exponentially elevates Imagineer Systems’ value as a software provider in the world of professional broadcast and feature film production.

If you want to hit the ground running with MochaPro, you can download the free trial from their website and also check out their free tutorials.  For the record, I have received no financial compensation from Imagineer; just a solid product and great customer service.

proactively • mocha track it • peter

01
Jul
11

fcp -> avid for 995 thru sept

Boom. Native stereoscopic offline editing with a free 30 day trial while I let the emotions wear off and the projects come in. The good news is Avid editors are old, crotchety and experienced. The bad news is I think I’m going to become one of them very, very soon. Well, at least not an old and crotchety one.  From Avid’s Gary Greenfield:

For Avid, making great video and audio products to serve the needs of professionals – top editors, whether for film, theatrical, television, broadcasters, major film and music studios, or independent film producers is our lifeblood.

I believe Mr. Greenfield is directly referencing Mr. Brinkman’s suggestion to FCP editors based on his own experiences with Apple and it’s dead end development of Shake.

Early in my career when I produced SEMA: After Hours, at the advent of HD editing, I found myself wishing I was getting it cut on FCP because Discovery’s Avid Adrenaline was not ready for prime time HD finishing.  Now, as I look to produce and edit hybrid stereo 3D features and broadcast episodics (using both native and converted 3D footage), at the advent of stereo 3D editing, I look to Avid with an apparently proven and stable work flow while Final Cut formerly Pro goes the way of the dodo.

One thing’s for sure: glad I didn’t opt for law school.  Mastering short hand on a yellow legal pad would have become old hat a long time ago.  Up is down, left is right, and old steel appears young, flexible and attentive to the needs of the mob.

proactively • hitching a ride on my flying pig • peter




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