.edl files and nuke

Hi people,

I’m a new Nuke user and I would like to know if there is a mean for importing .edl file in it.
I’ve already try the "Import Sequence" in the Read node but I get this error "syntax error in expression "AX + C": variable references require preceding $".


Color grade render issue

Hey everyone-

New to the board here and I have a weird issue with rendering files out. Everything is pretty straight forward. I have my footage, a reformat node, a grade node and then a color correct node.

No matter what I have tried the footage is coming out looking a lot darker than it should. It actually looks completely unchanged…Any thoughts? I think I am missing something here.

Apres la Pluie and other Gobelins shorts

Another stunning list of student work has just been released by the french animation school Gobelins. My personal favorite, Apres la Pluie seems to be beyond the work of students. Credited to a few students by the names of Charles-André Lefebvre, Manuel Tanon-Tchi, Louis Tardivier, Sébastien Vovau, Emmanuelle Walker, this is an animation that any studio would be proud to execute. Gratifyingly different than most animation out there, this follows an aestetic closer to Tekkonkinkreet than a Pixar movie..this is no easy task. There are a couple making of videos that show the depth of research and exploration that went into this film.

Not to be forgotten though are the other films, which all display the amazingly high standard that Gobelins has for it’s students. Another great animation worth seeing is California Love.

Apres la Pluie making of:

“Après la pluie” / Making of / Manuel Tanon-Tchi from manu tanon-tchi on Vimeo.

via Liftingfaces

Posted on Motionographer

Apres la Pluie and other Gobelins shorts

RED L.A. User Group, January 10, 2009

January 10th, 2009
9:00am – 12:00am


We’re excited to announce that Digital Vision will be sponsoring the breakfast at the January 10th meeting. Digital Vision will be demonstrating RED workflow with Film Master in Kappa’s new DI bay. Film Master is one of the handful of systems capable of importing RED RAW files.

Curtis Harris, the video specialist at Melrose Mac, will be discussing storage options and backup when dealing with tapeless formats such as RED. He will be discussing in detail the different RAID types, and when to use them, as well as why it is absolutely critical to have a backup strategy such as LTO backup.

These are only two of the presenters who will speak and demonstrate their RED products to the group at the next meeting. Please stay tuned for more announcements soon.


my firts demoreel

Please comment on this…

Problem in FLash

flash file of period 25 seconds made at 24 fps
1.exported as swf
2.exported as png

then while importing both of the file in after effects with setting of 24fp
it give problems …

1. under project panel (properties near thumbnail of footage)for swf it shows perfect same timeline of 25 seconds with 24 fps
2. but while importing png sequence it shows timeline of 20 frames with 30 fps

3. and while exporting swf to avi,quicktime it gives a jittery and pixalative image where some charchter moves

SMNY & Mother Protect Human With Amnesty

[NEWS=”http://www.cgnews.com/wp-content/uploads/sm_amnesty_thumb.jpg”]18048[/NEWS]Director Kim Gehrig of Academy Films and New York-based Smoke & Mirrors New York (SMNY) Creative Director Sean Broughton create a compelling 1:30 tale for Amnesty International via Mother. With Michael Stipe’s arresting song, Until the Day is Done, playing throughout the spot, we are left simultaneously bewildered and proud. Bewildered at the astonishing violence in our world, and proud of the selfless among us attempting to hinder its relentless surge. Seven racially diverse individuals are superimposed onto scenes of violence wherein they appear to stand between aggressors and their targets; releasing prisoners, removing nooses off necks and withdrawing weapons from children.

The heroes are placed in the heart of nations that are war-torn and plagued with cruelty, in order to attest our own capacity to protect human rights.


SMNY’s Sean Broughton acknowledges, “This was an opportunity to do some real good, so pulling out all the stops was the only way to go. When the time came, I met with Director Kim Gehrig in London to work out how every scene and element should be shot. The seven scenes were split up amongst the three post companies involved in the project SMNY, Rushes and Framestore. We had to complete the work in record time, but the ego-less efforts made by all was a joy to be a part of.”


“Interaction was a key aspect of the film, so each ‘hero’ was shot against green screen, with the distance traveled, terrain, camera heights and angles calculated prior to shoot. Lighting was matched to the pre-selected background scenes and everything was shot with locked off camera in HD to allow for movement later in post. Kim wanted to make sure the heroes stood out, so it was an old VHS machine that finished the catalogue of work executed in each scene. The hero character was played off to the old tape format and then matted back in.”


Ed Sayers from Mother adds, “There are many ways to approach any post task and in this case we gained the eclectic opinions of all this top worldwide post talent and when anyone talked, everyone listened. So the film received the benefit of all that experience and the joy of all that talent. It couldn’t have been done in the time without this total and ego-less cooperation, not to mention a client who allowed everyone to crack on and come back and truly wow them with a very powerful film.”

About SMNY:
New York and London-based design, animation and VFX studio, Smoke & Mirrors was founded by Creative Director/VFX Artist Sean Broughton (NY), Penny Verbe (UK) and Mark Wildig (UK). Production in the New York office is lead by Managing Director Jo Morgan and Executive Producer Celest Gilbert. Diverse projects range from work on the Harry Potter and Bond film series, to commercials campaigns for Mercedes, Burger King, Miller Lite and Sirius. Recent music vid clips include Feists 1 2 3 4, and I Feel It All.

The Creds:
Client: Amnesty International
Title: You Are Powerful
Air Date: December 2008

Agency: Mother
Producer: Ed Sayer

Prod Company: Academy Films
DOP: Mattias Montero
Director: Kim Gehrig
Producer: Lucy Gossage

Post/Effects: Smoke & Mirrors – NY/London
CD: Sean Broughton/SMNY
Flame Artist: Marios Theodosi/London
Managing Director: Jo Morgan/SMNY
EP: Celest Gilbert/SMNY
Producer(s): Belinda Grew, Paul Schleicher/London
Producer: Lauren Shawe/SMNY

Post/Effects: Rushes/Framestore

Editorial: Final Cut
Editor: Joe Guest

Audio Post: Factory
Mixer: Ben Firth

Music: Until the Day is Done
Artist: Michael Stipe


Hi, I’m Simon and new in the VFX community.
At the moment I’m playing around with some programs and got some questions.

I use Fusion as compositing software, but I use other programs too (3D, compositing, painting, particles).
My question is the following: how do you combine programs? Is it right to render some layers in After Effects and put them together in Fusion with some pictures and perhaps footage rendered in other software?

Second, when I’m rendering 3D, is it better to render every pass (shadow, highlight, depth, reflection … ) separated and put those together in Fusion as well?

Thanks in advance 😀

Making of realistic terrain

Im a compositor and right now im in modelling. Which software is best for modelling realistic terrain with rough and bump surface in it. can anyone help me. i have spended more than a week for searching this:confused:

Celebrate New Year’s with some Charlie Brooker.


> Download Charlie Brooker’s Screenwipe: Review of 2008 (267mb *.zip)

Ring in the New Year with a look back at the past twelve months of television through the genius that is Charlie Brooker’s Screenwipe on BBC Four.

In his annual review of the year, Brooker takes you on a month-by-month recap of the year that was for television, the industry and the world.

And for a further trip down memory lane check out his review of 2007.