Smoothcam Translation to position?

So I was having some issues tracking a shot, and smoothcam (with a decent mask) gave me a good result. I was going to use this to matchmove an element, but due to smoothcam not working with infinite workspace, and some clipping issues, I needed to link the motion to a move2d via expressions. This would be easy as pie if smoothcam would output actual position values. Instead, it does a sort of "change in value over this frame" translation value.

So if it moved one pixel in X, the value is 1, rather than going from say, 640 to 641.

In the graph I wind up with a centered squigly line, rather than a squiggly slope like I needed.

So i ask you all, how can I (in expressions) convert this "change per frame" translation data into an actual position for my element?

I eventually hand animated it, which worked fine for this shot, but I need to know this for a later date.

And I probably couldn’t get smoothcam to work with infinite workspace via user-error, but still I want to know how to do this conversion.

Thanks all!

cmiVFX Tutorials now free

Quote:

We have opened up some of our library to the general public. All of our Apple Shake training is FREE now. Just register and watch. Not strings attached.


Just stumbled upon this great message over at cmiVFX. Thanks Chris!!

Adding Mulitiple keylights and bad halo’s

Hi was hoping someone can help me out with an issue i am having. I have a Greenscreen that I need to key out, with my own fault the GS is not lit correctly and the tracking markers are somewhat white. I am having trouble combing both keys together to I have my edge and core matte combined with an iadd. However I can seem to combine the tracking keys with my mattes. Also if have a really bad halo that I cannot get rid of.

Thanks to anyone who answers

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Apple Motion, Color + Shake Training

Apple Motion Induction £100
Monday 16th November 10.30am – 4.30pm

This one-day course familiarises students with Motion, Apple’s software for motion graphics design. Learn real-world
effects techniques, including filters, layering, composite modes and animating video, graphics and titles.
The practical approach to motion graphics focuses on the features of Final Cut Studio that editors and designers need to use in their daily work. With Motion, you’ll learn how to make creative titles, motion menus, show bumpers and news opens as you learn everything from text, compositing, and keyframing to 3D set creation and camera animation.

The course will cover working with Motion’s Real-Time Design engine and interface, behavior-based animation, parameter behaviors, blend modes, advanced particle system design, advanced title animation, chroma key techniques, masking methods, keyframing, and integration. This course is designed for anyone wishing to learn the fundamentals and functionality of Motion and would be advantageous to those with some experience in graphic and editing applications such as Photoshop and Final Cut Pro.

Apple Color Induction £100
Monday 23rd November 10.30am – 4.30pm

This one-day hands-on course will familiarise students with Apple’s new professional colour grading application that makes it easy for editors to create signature looks for projects ranging from short video pieces to full-length featurel films. Start with the basics of colour balancing and correction, and move on to the finer points of grading.

Topics covered include though not limited to:

Setting up a project and managing a workflow through the Color Rooms:
Setting up; Primary In; Secondary Rooms; Color FX; Primary Out; Geometry; Still Store; Final Print; Transferring Final Cut Pro Projects to Color; Standard-definition and High-definition Formats; Frame Rates; Project Frame Sizes; Broadcast Safe Settings; and Preventing Illegal Video Signals.

Making Basic Adjustments:
Understanding Scopes; Adjusting Contrast; Primary Color Balancing; Defining; Lift; Gain and Gamma; Hue Controls and Correction; Saturation Controls and Correction.

Creating and Recalling Grades:

Advanced Primary Correction

Basic Secondary Correction:
Applying Effects and Creating Looks: Color FX Room

Rendering, Exporting and Archiving:

Shots to Render Queue; Print Options; Final Gather Options; Exporting JPEGs; and Exporting

Apple Shake Induction £100
Monday 30th November 10.30am – 4.30pm

This one day course will introduce students to the primary feature set and basic interface of Shake, Apple’s leading compositor for film and video effects. Students will learn to create multi-layer composites using Shake’s Node tree
organisational structure and rotoscoping tools. The course will also cover basic color correction tools as well as final exporting.

Course outline

The Shake Workflow:
Interface Workflow, The Shake Interface, Importing Images and Sequences, Using the Viewer.

Basic Compositing:
Process Trees, Creating a Simple Tree.

RotoScoping:
Add Shapes Mode versus Edit Shapes Mode, Creating and Modifying Shapes, Knot Modes, Right Mouse Controls, RotoShape Exercise, Roto Tips.

General:

Each student has their own workstation for the practical parts of the course and can discuss any specific areas of interest they may have towards the end of the day with the tutor.

Cost and payment:

£100 per course. Receive a 25% discount when two or more courses are booked. To secure your place we require payment in advance by cheque (by post) credit / debit card (over the phone) or cash (in person). Please call 020 8525 4330 to book your place or visit our website for more information and full course listings.

http://www.spacestudios.org.uk/All_C…Items/Courses/

SPACE, 129 -131 Mare St, Hackney, London E8 3RH
T: 020 8525 4330
e: training@spacestudios.org.uk

How to access system time in shake

Hi

trying to make a macro for slate. which should display the current system time. tried various expressions nothing seems to work. Also {timeRange} gives 1-last frame where i only need the last frame to display in the slate.

any help is appreciated.

Dev

Shake motion vectors

Hi everybody,

I am trying to find a work flow of using reel’s smart motion blur plug-in in shake. Is there a special way that I can use the vector files rendered from Maya 2009 framebuffers to make it look correct.

The workflow for me currently is to render out a motion pass from Maya 2009 using framebuffers into open EXR format and import it into shake using the openEXR plugin for Shake v2.5.1. Yep I am on Windows.

The reason why I use openEXR is that that motion vector pass needs at least 16 bit of data, for some reason the file format iff and tiff in Maya cannot support 32 bit when rendering framebuffers (good one Autodesk).

Does anyone know of a solution to composite correct motion blur in Shake using vector passes rendered from Maya? Right now I seem to be getting just diagional lines blur, and not true motion blur. I have read the documentation and have been following http://aloedesign.com/2008/12/maya-2…/#comment-3029

motion blur tutorial, but that tutorial doesnt seem to be for Shake, its for after effects instead. It is a good tutorial but there is some confusion about temporal sync as he doesnt really explain how to fix it correctly.

Since Maya renders the data into the R,G,B, do I have to convert it into X,Y,Z inside of Shake, if so how do I do that?

Thanks for your time, and help.

Footage in Shake comes out much lighter

I’ve noticed that when I make a Shake script, FileIn some footage, adjust something minor (normally with Quickpaint), and then FileOut it back into my Final Cut project, it comes out noticably lighter (less contrasted and more washed-out looking) than the original footage.

Any ideas? It really makes the footage look different.

“toggle incremental update”?

Hey shake guys (I hope there are still a few around!?)
I just realized that I don’t know exactly what a little UI thing does in Shake which bugs me a bit after so many years of using the software. I’ve read the manual of course but I don’t really get the difference…
I’m talking about the little toggle with a lightning/flash-icon over it just below the viewer in Shake. The manual says it’s for "toggle incremental update". Some kind of difference in what actually gets calculated, a smaller region or the whole frame. Seems more like a ROI thing to me, but not exactly.
Can somebody please set my mind straight! 🙂

Cheers,
David

Qmaster – multiple clusters

Hey,
me again with another question:
we just installed Qmaster on all of our mac machines (with shake installed ) and all the clusters are setup and sharing.
the problem we have is that we cant distribute a job to different machines, we have to pick one of many machines and render on 1 cluster. in the cluster list we can see all the available machines but we can only pick 1. we just want to send the renders and qmaster distribute them.
is there something we’re missing?
thanks
M

Command line -bytes question

shake /test.jpg -bytes 4 -brightness 2

Why doesn’t that give me float values when I plot the viewer?