Frank Rueter:
Anyway, I guess what I'm trying to say is that we all need to be a bit more accountable as to the rate we aim for.
You can do a lot of damage to yourself and to others.
8 Observations
Nuke 8 has been out for sometime here are some observations.
The camera tracker can now scale your scene based on real world measurements. No more objects that are -456.890 in scale. The stills solver works if you take your photos with the number 3 in mind. Nuke needs 3 points to calculate x,y,z axis, make sure the images you give it reflect that. The editGeo will prove to be a time saver. Model builder is getting better, far from perfect but like all good features making forward progress. Watch out for co-planar faces and vertices. Both the camera tracker and model builder has made progress in both how they work and how to make them work. That is very important.
Match grade is some what of a disappointment. The workflow for me and for most vendors the QuickTime you deliver to the client must match the dailies the editor and director have been staring at for months. Match grade failed pretty bad. I wouldn't go as far as writing it off but as for making dailies for editorial didn't get easier or faster. Whatever the mojo is I haven't found it.
Paint seems fine and the full frame rendering is amazing. Having your playback not break when you zoom in is a game changer. Your supers are going to love it.
The new color controls are cool but small. Option+command will bring up the old pop up window(it's hard to argue with 1993).
The new QuickTime settings in the writes and reads seem to help the age long color space problems with QuickTime movies. This is nice.
Nothing seems to be broken or acting differently. Only the new nodes and features seem to have bugs. Which brings me to the new submit your cash report dialog. We might get a better Nuke because of it. I almost never sent that info to the The Foundry. Shame on me.
I have been pushing Nuke 8 pretty far, 2d compositing, paint and 3d are in my mind very strong. A good release.
Project Yosemite →
Project Yosemite:
A 200+ mile backpacking experience through Yosemite National Park captured by Colin Delehanty and Sheldon Neill. This project was filmed over the course of 10 months. We spent a combined 45 days in the park capturing the images in this video.
Control →
When a company changes something in software that has been the same since 1993, you might just get into a discussion as to which way is better.
There is always Option+Command Click on the color wheel.
Deep →
As usual a novel to read but great infomation. Now that Nuke can output Deep from the scanline render, things can get even more interesting.
3.14 →
It has been 1 year. I don't know one person that makes movies for the money. Their are people who happen to be really good at it. Turns out they need our help.
If you are reading this in a e-mail Click here
Big Day →
By Jeff Heusser:
The Oscars are this weekend and by all rights should be dominating the news cycle. This week is different with multiple important visual effects business related stories hitting in a one day span.
I can't believe its been a year and almost nothing has changed. Not from lack of trying, I guess we just keep going hoping for change. We are a very smart group who loves what we do. I hope we can change the ideas that the non visual effects professional have. We need to edjucate not laugh when they say "CGI".
ILM’s scientific solutions →
Ian Failes:
ILM is no stranger to the SciTech Awards; numerous innovations crafted by its artists and engineers have been recognized with prestigious Scientific and Technical Awards from the Academy of Motion Picture Arts and Sciences. The studio’s latest two SciTech honors were awarded recently for ILM’s GPU-based simulation and volume renderer Plume and the Zeno application framework. fxguide spoke to key members of ILM’s team about these in-house visual effects tools.
Gravity VFX Supe: US Pros Not Young Or Hungry Enough To Compete →
vfxsoldier:
Yet statements like Mr. Webber’s go unchecked and what makes it particularly disappointing is how obviously wrong it is.
Visual effects work follows the money, not the talent. The artists follow the work. Some of the best work in the past years have come out of London and Vancouver. This will continue until the money goes somewhere else. Then the artists will move to that local. I personally know a lot of amazing artists that live and work in the USA. I also know a lot of amazing artists that work out the USA that would love to come back.
OpenCL →
Dave Girard:
The lackluster support of OpenCL is likely the biggest thing standing in the way of software transitioning from CUDA to OpenCL on OS X. Apple needs to stop just talking big about OpenCL and offer the aggressive support it needs to actually compete with CUDA. It’s a sad irony that Apple invented OpenCL only to see it better supported on competing platforms and that dealing with Apple to resolve problems is “unpleasant” because the company is so opaque. It is safe to say that the breakneck pace with which Final Cut Pro X 10.1 got its excellent dual GPU support wouldn’t have been possible if it wasn’t an Apple product with two teams in shouting distance of each other. Next time you read that some software isn’t optimized for the new Mac Pro or OpenCL on OS X, think twice before sticking the pitchfork in the developer—it might be Apple slowing it down.
I have been reading thru all the MacPro reviews and wondering where the The Foundry are with OpenCL. They where mentioned in by Apple in the WWDC keynote. But that doesn't mean they are getting help from Apple. I hear that an OpenCL version of Nuke is coming but how long and how good will it be. Having a GPU just for Nuke would be great but only if it works. In this same review a developer asks Apple to make Mac OS X versions of OpenCL comparable to the Linux and Windows versions.
The OS X version Mari is said to be pretty good, I hope it is going well with the Nuke code.