Combustion 2.1.1 question (for real)

Okay, I’ve search the forums here. I have an issue. When trying to add a text layer to a composition, I can’t get the background (solid) to be transparent and the text to be opaque. What am I doing wrong? I’ve opened up a tutorial with text layers and tried adding a new text layer and the same thing. If the source of the footage is set to solid, my text is gone. If the source is set to something else, my text shows up.

Am I missing something? I want to be able to do more than just move the text left to right up and down. I want to be able to use the 3D space.

Thanks for any and all possibilies with this. Uninstalling and reinstalling didn’t do a darn thing.

Thanks!
Chris

3D model: advice on construction and design please (ccm261)

Hi,

I’d like to ask for some advice and design approaches on how to fasten the engine to my paper airplane.

Currently I’ve used a single paperclip to fasten it down but if the model were actually created and put to the test the engine would simple fall right off so I’d like to take your creative input on how to better fasten the engine to the back of this paper airplane model.

Your advice is greatly appreciated.

2 Nuke questions

Ok, so I have 2 Nuke questions:

1: I am working with a scene where I’ve set up shots sequentially using "frame range", then useing "Merge"s to bring them together. Problem is that even though the shots that are out of their respective frame range values still calculate all their effects for the frame, making it take forever to calculate each frame. Is there any way that I can tell Nuke not to calculate parts of the schematic that are out of range?

2: I am working with Sapphire, and most of the nodes have handles overlaid in the viewport. The wierd thing is I can’t figure out how it decides which handles to show. Is there any way for me to limit the handles that show up in the viewport overlay to only those that belong to the current node I have selected?

renderBOXX 10300? anyone have experiance with these?

hey guys seems like you are all pretty knowledgeable here so i thought i would see if anyone had any experience with these? looking to upgrade the render farm and this was one company i was looking at.

TIA
ODA

LBL-UFO

Hey Guys,

My UFO Project was based on a classic saucer disc combined with sweeping lights.
During this project I tried to be more focused on composting stuff like color correction, reflections, CG integration and create elements like particles and energy.

Thanks,
🙂

Sorry for the low resolution 🙁

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DFT’s New SCANITY Film Scanner

The SCANITY™ from DFT offers cost-effective 4K and 2K Film Scanning with TDI Line Sensor Technology for Numerous Applications

DFT Digital Film Technology, provider of high-end post production solutions, including the award-winning Spirit and Bones, is introducing SCANITY, a new film scanner that offers unprecedented speed, versatility, stability, and safe film handling. The new SCANITY serves a variety of scanning applications, including dailies, feature film mastering, archive and restoration, short-form, commercials, as well as digital intermediate scanning.

Unique Set of Features
Utilizing cost-effective technology, and offering a distinctive feature-set, the SCANITY is one of the most affordable and multi-tasking film scanners on the market today.

The SCANITY is a 4K scanner that utilizes TDI (Time Delay Integration) line sensor technology, which ensures extremely fast and sensitive film scans. The resulting image has over 4,300 horizontal pixels and automatically matches to the film frame aspect ratio (including full aperture, wide-screen, Cinemascope, VistaVision) simply by scanning as many lines as are required. On 35mm 4-perf film, SCANITY™ offers 4K scanning at up to 15 fps, 2K at up to 25 fps, and 1K up to 44 fps, 0.5K up to 69 fps, and 0.25K up to 96 fps (depending on workstation file systems, and SAN).

A new precision roller gate, also unique to the SCANITY, offers unparalleled smooth and safe film handling, even with fragile, shrunken and legacy film stocks. In conjunction with a continuous-motion capstan film transport, a touch-free Optical Pin Registration is used to scan film perforations, rather than using mechanical pins, which means no stress is placed on precious film. The film continuously travels on the roller gate, which is controlled by a high precision tacho and servo system, ensuring ultimate image steadiness and speed.

The SCANITY uses efficient LED light sources with a specific selection of spectral wavelengths that are switchable depending on the film stock and for matching to the correct colorimetry of film dyes. Another benefit to LEDs is long life and low operational cost.

Integrated and dedicated spatial image processing manages the scaling and formatting before the material is stored on local or centralized storage. A local touch-screen and a dedicated workstation allow users to control the scanner, perform image quality checks, adjust a variety of technical settings, and manage data within the attached local or SAN storage system.

The SCANITY integrates seamlessly with the comprehensive set of Bones post production software tools, which provide a variety of editing and auto-conform functions, format conversion, as well as data and video transfer for dailies and digital intermediate workflows.

Ideal for Many Applications
This fast and cost-effective scanner has been designed around technology to address a multitude of applications. SCANITY’s speed makes this unit ideal for conform scanning, dailies scanning, low-resolution browsing, and video-like applications. The new film transport without sprockets, pins, or skid-plates makes it ideal for sensitive and fragile film in restoration and archiving applications. SCANITY is faster than any other available scanning product for Dailies scanning and EDL/conform scanning of feature films and short-form scans including commercials.

Call For Submissions: onedotzero

This is just a friendly reminder to get your submissions to onedotzero before Friday, May 29th. Do it!

Posted on Motionographer

Depth slice keyer, how does it work?

I just tried to do a luma key which works like the depth slice keyer but I’m too tired too think. Instead I just did some reordering and use the depth slice key to get the result. So here’s the thing I want to know how to recreate (without the depth slice node):

SetAlpha1 = SetAlpha(0, 1);
ColorSpace2 = ColorSpace(SetAlpha1, "rgb", "yuv", 0.3, 0.59,
0.11);
Reorder2 = Reorder(ColorSpace2, "nnnnr");
Copy2 = Copy(Reorder2, SetAlpha1, 1, "rgba", 0);
DepthSlice1 = DepthSlice(Copy2, 0, 0, 1, 0, 0, 1);

// User Interface settings

SetKey(
"nodeView.ColorSpace2.t", "0",
"nodeView.ColorSpace2.x", "1011.45532",
"nodeView.ColorSpace2.y", "372.1047",
"nodeView.Copy2.t", "0",
"nodeView.Copy2.x", "969.5603",
"nodeView.Copy2.y", "195.832474",
"nodeView.DepthSlice1.t", "0",
"nodeView.DepthSlice1.x", "954.340332",
"nodeView.DepthSlice1.y", "106.6597",
"nodeView.Reorder2.t", "0",
"nodeView.Reorder2.x", "1045.136",
"nodeView.Reorder2.y", "299.764374",
"nodeView.SetAlpha1.t", "0",
"nodeView.SetAlpha1.x", "874",
"nodeView.SetAlpha1.y", "481"
);

I don’t need this kind of key at the moment, I just want to know how it works 🙂
Connect a Ramp or some footage to the SetAlpha node

Fusion won’t create keys

Here is some problem I’ve had a bunch of times already with Fusion 5.2 and 5.3: Fusion WON’T create a key if I move the centre of a Polyline mask.
I can move the centre- it wont create a key.
I can CLICK on Center and say SET KEY and it won’t create a key.

If I move my Polyline around it will create a key for it.
So basically is this just a frustrating bug or can I lock the animation feature somehow or something? Is there any way to fix this? Closing and reopening fusion sadly DIDN’t fix the problem so I feel a bit helpless.

Paul Lee Design

Paul Lee brings a fresh aesthetic to his work.