December 10, 2012
December 06, 2012
December 03, 2012
January 18, 2012
GoPro Boosts Entire GoPro CineForm Studio Product Family
Today's announcement from GoPro is a significant one for a few reasons; one, it's a signal of incredible collaboration and innovative vision from the development team at the company. It's also a welcome announcement to a broad swath of the marketplace. We've seen how users ranging from consumers, motocross, skydivers, surfers to general enthusiasts have pushed GoPro cameras to the limit - but now we're starting to see how professional production crews are integrating GoPro cameras into some pretty sophisticated production pipelines.
The GoPro HERO2 introduced a breadth of features the professional crowd cheered about. Now with the availability of GoPro CineForm Studio, GoPro CineForm Studio Professional, and GoPro CineForm Studio Premium, the company is introducing some very sophisticated post production technology that's intuitive enough for the consumer crowd, and highly valuable to the professional filmmaker cutting HD documentaries, or sophisticated 3D stereoscopic productions.
This is big news!
Here's the press release that hit this morning:
GoPro® Strengthens Entire GoPro CineForm® Studio Product Line for 2D and 3D
Post Production Workflows
HALF MOON BAY, CA (January 18, 2012) – GoPro, the world’s leading activity image capture company, today announced the release of a new version of its professional family of 2D and 3D production software - GoPro CineForm Studio Premium and GoPro CineForm Studio Professional. The company recently released a new version of its free software, GoPro CineForm Studio, which adds powerful new features appealing to consumers and professionals alike.
“This announcement represents a significant milestone in GoPro’s efforts to provide a complete camera-to-software solution for 2D and 3D productions for its entire customer base,” said David Newman, GoPro’s Senior Director of Software Engineering. “The updated GoPro CineForm Studio software line has huge implications, not only for consumers and enthusiasts, but for professional cinematographers and filmmakers who are increasingly embracing new camera technologies to help them tell their stories in ever more exciting and unique ways. The new software maintains an intuitive user interface for basic tasks but also provides sophisticated Active Metadata-driven capabilities that slipstream into the most advanced production pipelines in the industry.”
What’s New in the GoPro CineForm Studio Product Line
GoPro CineForm Studio
Available for both Mac and Windows platforms, GoPro CineForm Studio enables users of every skill level to adjust aspect ratios and instantly correct distortions or ‘image stretching’ that typically occurs when resizing images. And for high impact, dramatic time lapse sequences, GoPro CineForm Studio now enables users to add keyframes anywhere in the video, and add effects such as pan and zoom to introduce movement and drama to time lapse sequences.
Other new features include:
- Automatic recognition for 3D videos for YouTube uploads
- Auto-update of HD HERO2® camera firmware
- Support for popular .mov and .mp4 video formats to bring in content from other camera systems
GoPro CineForm Premium and GoPro CineForm Professional
For professional cinematographers, filmmakers and videographers, GoPro has also strengthened its family of professional applications; GoPro CineForm Premium and GoPro CineForm Professional. GoPro CineForm Studio Premium captures the most popular features of both CineForm’s Neo HD and Neo 3D into a singular, new solution ideal for 2D and 3D broadcast and feature film production. GoPro CineForm Studio Professional extends even more powerful stereo 3D post-production capabilities to 3D broadcasters and 3D feature filmmakers, and is optimized for multi-camera stereo rigs, such as SI, PHANTOM, RED, and ARRI ALEXA. Additional features at-a-glance include:
GoPro CineForm Studio Premium:
- New and improved user interface
- Non-destructive Color correction
- Non-destructive Reframing/Image manipulation
- Non-destructive 3D correction
- Support for a wide range of consumer and professional 2D and 3D (single body)
video cameras
- Support for HD and beyond
GoPro CineForm Studio Professional:
- New and improved user interface
- Non-destructive Color correction
- Non-destructive Reframing/Image manipulation
- Advanced Non-destructive 3D correction
- Support for a wide range of consumer and professional 2D and 3D (all types)
video cameras
- Support for HD and beyond
- Independent eye control for professional 3D camera rigs
Pricing and Availability
GoPro CineForm Studio is available immediately as a free download here.
GoPro CineForm Studio Premium is priced at $299, and GoPro CineForm Studio Professional is priced at $999 and are available for download here: http://www.cineform.com.
About GoPro
Based in Half Moon Bay, California, GoPro makes the world’s most versatile cameras, enabling people to capture and share their lives’ most exciting moments in professional quality HD video and photos. GoPro’s HD HERO line of wearable and gear mountable cameras are used collectively by more consumers, professional athletes, and video production professionals than any other camera in the world. GoPro’s products are sold in over 60 countries via specialty sports retailers, Sport Chalet, Best Buy and at GoPro.com.
GoPro Media Contact:
Rick Loughery, GoPro Kevin Bourke, BourkePR
(415) 738-2480 x722 or pr(at)gopro(dot)com (508) 259-6018 or kbourke@bourkepr.com
GOPRO®, HERO®, and CineForm® are trademarks or registered trademarks of Woodman Labs, Inc. in the United States and other countries. All other company, product names are trademarks or registered trademarks of their rightful owners.
January 10, 2012
Imagineer's mocha Key to 3D Conversion Pipeline for TRIXTER
Since 1998, TRIXTER has been creating outstanding visual effects and digital character animation for feature films, television and commercials. From the early days, TRIXTER established itself as a major player in the field of emotive character animation, both for fully computer generated animated features as well as live-action productions. Over the past few years, TRIXTER has expanded its expertise by branching out into visual effects and has recently accomplished some outstanding work for German and international projects such as Percy Jackson, Lilly The Witch, Iron Man 2, Narnia 3, X-Men: First Class, Journey 2, Captain America and many more.
Today, TRIXTER is unique in its ability to provide quality digital production for live action and animated features, in mono or 3D stereo. Whether it be key framed computer generated creatures or motion capture driven performances, matte paintings or FX work, TRIXTER has the experience and talent to deliver work of the highest standards. Its community of innovative digital artists and computer technologists collaborate creatively with filmmakers, helping them to bring their vision from the storyboard to the theater and delight audiences around the globe. TRIXTER has offices in Munich, Berlin, Los Angeles and Toronto.
Imagineer Systems’ Ross Shain recently spoke with Michael Habenicht, Compositing TD for TRIXTER, and talked extensively about their innovative and highly acclaimed stereo 3D and visual effects projects from this past year. They also talked about mocha and the role it played in their pipeline.
Imagineer: Can you tell us about recent projects TRIXTER has worked on, the challenges you faced and how you overcame them? We understand that you used mocha fairly extensively on many tough projects; what can you tell us about your experiences?
Michael: mocha has been used extensively on all projects at TRIXTER this year, ranging from stereo conversion for "Green Lantern" to VFX for "X-Men: First Class," "Captain America: The First Avenger," and "Journey 2: The Mysterious Island." mocha’s Planar Tracker and roto capabilities were heavily relied on for these films!
Imagineer: Tell me a little about your pipeline and the other software you use. How does mocha integrate into your workflow?
Michael: We use Nuke for all the compositing here at TRIXTER. mocha integrates really well as it is only a matter of exporting to the clipboard and then pasting directly in Nuke. Also the new features since Nuke 6.2 was released that allows us to export only the keyframes for shapes, instead of having to “bake” every frame, really improves the workflow and speeds things up. So much can be done in mocha that, once we export to Nuke, there’s little back and forth for final adjustments - and that’s another huge time saver!
Imagineer: How many shots were tracked with mocha, and how did mocha assist the process?
Michael: Well, I would say nearly every shot gets tracked with mocha at some point in the process - mocha touches everything, especially if a shot requires some cleanup, replacement or roto. It provides excellent results in no time. Simply load your clip, draw the shape, track it, paste it into Nuke. Our artists, some of whom have never used it before, learned it very fast and were instantly impressed by what can be achieved. The ability to add a grid to the tracking gives us very good, fast feedback and perspective about the quality. Also the magnifier that shows the keyframe before and after is an essential aid to good consistent roto.
Imagineer: Can you talk about any particular challenges or shots on which mocha was a significant help? Would these shots have been more difficult to achieve in another set of tools?
Michael: On X-Men our task was to replace Mystique's eyes. Without mocha, it wouldn't have been possible in the given time while allowing us to keep to our quality standards. The shots provided several challenges. First we had to track the eyes or the face to get the general movement. mocha's robust algorithm significantly helped with this. It doesn't get distracted easily by small movements and variations in the pattern that differ from the overall movement. So blinks of the eyes were rarely a problem like they used to be when you tried to track a single feature in another software. The first round of tracking helped to roto the eyes and place the new ones. The second round tackled the movement of the pupil. Reproducing all subtle movements of the original performance was key to a successful shot. This way we could preserve all the character's emotions even with her new set of eyes!
On Journey 2 (a project in stereo 3D) we had to do a lot of cleanup. An animal that was used on set for filming had to be removed here and there so that a new CG creature could be inserted. mocha was a big help by providing reliable tracks for patches and roto.
mocha is an amazing tool that keeps getting better. We’re looking forward to new developments with mocha - features we know will benefit us even more, like a python api. This new feature will help us integrate pipelines and workflows even more effectively.
mocha has truly changed the way we work here at TRIXTER and enables us to tackle the most complex VFX and stereo 3D conversion projects with the confidence that we can deliver flawless results, every time!
November 02, 2011
Hello, SkaterGirl!
Recently, we were introduced to Digieffects customer, Julian Bleecker; photographer, digital media artist and founder of Hello, Skater Girl. We were so mesmerized by the imagery he created, capturing women skaters competing in the gritty backdrop of skate parks all over the US; we wanted to meet him and learn more about him and how he creates his art.
Digieffects (DE): Can you tell us a little about HelloSkaterGirl, and about yourself?
Julian Bleecker (JB): I moved to Venice Beach California awhile ago and wanted to get to know the history and culture of where I was living. I'm an over-enthusiastic amateur photographer. A camera and a lens provides a decent way for me to ask questions about where I am and who I'm around in an indirect way, which is comfortable for me. I stared shooting in the Venice Beach Skatepark because I knew that place was a dog-eared page of the story that is this beach town — the history of this place passes straight through surf-skate life and culture. It was an amazing visual-anthropology to shoot there and get to know all the wonderful and curious people and their stories about skating and the Westside — Dogtown, Santa Monica, Venice, Mar Vista, Marina del Rey. I became a bit obsessed with capturing as many facets of the life as possible. Almost by accident, I found myself traveling to shoot with skaters and at competitions all around the country.
I got to shoot at X-Games 16, which was amazing and daunting to be up close to incredible skaters. Towards the end of a long, hot, sweaty day of shooting and lugging around gear and being humbled by the other professional photographers, I went into the air conditioned Nokia Theater to cool down. The Women's Vert Ramp Competition was on. I hadn't even thought once about shooting any of the women's events. Why not? It's not an excuse, but I can only surmise that the bias of a year of shooting men unconsciously led me to ignore women skaters. Not shooting with women wasn't a choice so much as a result of the familiar systemic issue that skateboarding is for guys.
That day was an eye opener. The women were bringing heat. This was real competition. Plenty of thrills. Lots of air. They were 110% sporty. Competitive while also encouraging and supporting one another.
That event was the start of this project. Through the Hello, Skater Girl project I hoped to distinguish what these sportswomen are doing without fetishizing the fact that they are women in a sportsman's game. Rather that they are women skating like women. I hope that these images in the book show a bit of that and their spirit and personalities.
But, I don't do this full-time, although sometimes it seems so. I'm normally a designer and technology guy. I work in the Advanced Design studio for Nokia here in Los Angeles and I run a design and innovation studio called The Near Future Laboratory where we figure out what could be, even if it's really weird.
DE: What camera equipment and software was used?
JB: I'm a Nikon boy by birth. I have a bunch of bodies from a D3S to an N90S. The lenses run the gamut, but mostly I shoot with the wider ones — 14mm/2.8, 16mm/2.8, 20mm/2.8, 24mm/1.4, but I usually keep my old trusty 85mm/1.8 handy. My go-to lens for the skateboard work has been the 24mm/1.4. I've been trying to perfect shooting it nearly wide open with an nearly black-out neutral density filter to let me keep it open in bright sun. The bokeh you can get with these conditions and a bit of luck makes the photography more portrait-like, which is an aesthetic I've been going for. The hyperfocal on wider lenses or slower lenses makes the images lack depth and look quite flat, in my opinion.
On the software side, I use ImageIngester and Photo Mechanic for the ingestion and pre-processing and then Adobe Lightroom and a big RAID array for cataloging and managing photos. The workflow feels medieval. Someone is really going to put sort this digital asset management thing and make it all work nicely. Right now it's harder than it needs to be. All the VFX work is done in AfterEffects and Final Cut.
DE: How much time is spent in post and VFX?
JB: I tend not to fuss too much with the images, although the spontaneity of the subject and the fact that its not studio photography means that the light isn't always spot-on. You're basically trying to take photos of very excited squirrels running all over the place and so you never really know what the light is going to do to you — clouds move, the sun moves, sometimes you shoot into it, sometimes its oblique to you. So it helps to capture images with lots of latitude for some corrections between very dark darks and very bright brights.
I use Nik Software's tools to help with that sort of thing, especially their Viveza tool. When I find an image I want to use, I tend to spend a bit of time with it. And, if I'm using it for one of still life with motion animations, I'll spend anywhere from an hour to a couple of days working with it. Mechanically the DigiEffects Camera Mapper effect makes it easy to setup the animation. Actually getting an animation and camera move that's satisfying can take as long as you want.
DE: There are some really nice color and VFX treatments to your work. Which Digieffects products do you use and how did they assist the process?
JB: I used Camera Mapper for all the animations. That was the core tool for the animations. The Buena Depth Cue suite is great to work with. Although most of the depth effects I created in camera, things like the Depth tool allowed me to enhance the aesthetic I was looking in a couple of the animations with very few hassles.
DE: What features of the products did you most take advantage of?
JB: Camera Mapper makes it relatively easy to get a great alternative to the tired Ken Burns pan-and-zoom for still images. I mean — I'm trying to use still images in a very time-based media world. It was a challenge to figure out what to do and once I saw that sort of effect in films like The Kid Stays in the Picture and Riding Giants. Camera Mapper and animating camera moves that reveal parallax is a really exciting alternative to 3D that is more authentic to photography in a video format.
DE: Can you talk about any particular challenge or frustration that Digieffects helped with?
JB: It took me several tries to figure out how to make Camera Mapper work. I think I wasn't thinking visually and just following the steps as I understood them in the tutorials. I think I'll do my own tutorial. The moves I'm doing are quite simple visually so I think a tutorial would explain the basic principles simply. Camera Mapper set me up to focus on what and how I wanted to animate stills. After doing it many, many times I can imagine how I could do it without the plug-in — but it greatly simplifies the workflow.
You can see more of Julian’s work on his web site here: http://helloskatergirl.com Or check out his Vimeo page here to see more stunning videos created with Digieffects: http://vimeo.com/helloskatergirl
Julian is also working on a new book; a limited edition collection of photography and the stories behind the Hello, Skatergirl photos. He’s using Kickstarter as a way to get the book into people’s hands. To support this effort, please visit http://www.kickstarter.com/projects/221647184/hello-skater-girl.
August 03, 2011
July 19, 2011
IRIDAS SpeedGrade NX Central to Stereo 3D Pipeline on Zambezia
Zambezia 3D: A Look at a Finely Honed 3D Production Pipeline
As the trend in Hollywood toward increasingly sophisticated, visually immersive stereo 3D production continues, another trend is gaining ground as well; studios partnering with smaller, specialized stereo 3D production artists around the world who have invested in the tools and techniques to create custom stereo production pipelines built on the industry’s most leading edge technologies. IRIDAS customer, Triggerfish Animation Studios, has been building a reputation as one of those experts, with an innovative stereo pipeline built on SpeedGrade NX.
Triggerfish Animation Studios is a Cape Town based studio of professional artists who specialize in bringing fresh, inventive and efficient techniques into long format animation. It took its first plunge in 1996 as a high-end stop-frame studio producing animation for Takalani Sesame Street as well as creating some of South Africa's most memorable commercials.
Recently, the team at Triggerfish partnered with San Francisco-based Wonderful Works on the production of the newest, soon to be released animated 3D film, Zambezia 3D. We recently sat down with the team to talk about Zambezia and the stereo 3D pipeline they developed to create this stunning, 3D animated feature film.
The fact that Triggerfish is the only studio in South Africa that focuses exclusively on feature-length animated films means that we're one of the few studios on the continent that have the energy and capacity to pull off a big production like Zambezia. The central theme of the story was penned by South African writers, so it made sense for the film to be produced by a studio who has always been passionate about telling African, yet universally appealing stories.
Our co-producers in the U.S., Wonderful Works, saw the potential of an independent studio presenting original stories from South Africa alongside big Hollywood studios which meant that we had to make sure that the movie's local flavor and humor would also appeal to American audiences. One of the challenging requirements has been to keep an open mind in the creative transatlantic exchange between America and South Africa.
We always knew and had planned our online edit to be handled off premises at our partner company the HD Hub. Once Zambezia received the green light to become a fully stereoscopic film, we immediately began to R&D pipelines that would allow us all the control the 2D Edit and what we now call the 3D Edit. Early on in production we attempted to incorporate all the stereoscopic effects such as depth blending and floating windows into the Final Cut Edit. The 2D edit would effectively remain untouched other than implementing stereoscopic monitoring and effects. Things became a little more complicated when we discussed these stereoscopic effects with the HD Hub and how we would transfer all this information across to them. We could brute force it and manually recreate all the effects during the online, but that did not last long. XML files could transfer all the information needed, but getting time to test on the Baselight system was impossible. Ultimately we needed an all-in-one Online DI solution that allowed our stereo department to apply all the stereoscopic effects too.
The Workflow
The animation workflow is very much shot oriented - right down to the folder structure on the server. Each shot exists as an entirely separate entity from any other shot. Animators produced captures of their work during production that then was pulled into the edit each day. These files were stored with the animation files and originally the final rendered passes and fully composited shot would also live within their own folders.
The workflow developed organically to the system we have now where animation captures are converted to Prores/DNxHD and stored independently of the working animation files on a system dedicated to the edit suites. Final rendered DPX files became the next challenge, the director wanted to see them in the edit as soon as possible, so a few simple tools were scripted for DPX to Prores/DNxHD conversions.
With the addition of the IRIDAS SpeedGrade system for handling the online DI and 3D edit, we simply made a few minor changes to allow for SpeedGrade to access the stereo DPX files quickly and easily after receiving an EDL from the edit.
IRIDAS has become a key component of our edit and finishing solution. Once the 2D edit has been locked on each reel of the film, the editor exports an EDL for SpeedGrade, which then directly accesses the final rendered frames of the film.
Once conformed within SpeedGrade, the stereography department steps in. Their roll includes confirming that all final frames are 100% accurate between eyes as any slight disparities can cause visual artifacts and discomfort when viewing 3D films. They then apply any Depth Blending effects required and the application of floating windows is the final pass. SpeedGrade NX is the last step before going to DCI conversion either for cinema tests or final exports of the film. Effectively SpeedGrade was the solution to all our stereoscopic editing and DI needs. It has also given us the potential to do some primary grade work on the film before sending it out for the final grade.
SpeedGrade certainly filled all our current pipeline requirements with regards to a stereoscopic DI solution. Its near-perfect importing of EDLs which then link directly to the DPX sequences has made it so simple going from the offline edit to SpeedGrade. The flexibility and openness of SpeedGrade’s storage format (XML) has allowed us to write add on tools for some smaller in house requirements. The customization via the .fcps files has also made SpeedGrade fit perfectly into our pipeline.
Once we got our heads around the methodologies and innovations of IRIDAS and SpeedGrade, it became an indispensable tool in our arsenal and an extremely powerful stereoscopic workflow enhancement that has become second nature to our team.
May 24, 2011
Digieffects: Accessible Innovation
Digieffects' announcement today hones in on some very impressive technology innovation under the hood in their families of VFX plug-ins; Delirium v2 and Damage v2. While Digieffects has amassed a significant fan base over the years due to their very high quality VFX at accessible price points (their plug-ins make your shots look incredibly high end, and their pricing makes it a no-brainer, must-have in your tool kit), one point that's been overlooked is their attention to workflow efficiencies. Bottom line is, for editors and VFX artists, it's not only about making your stuff look good, it's about taking the tedium out of the workflow too. And that's exactly what Digieffects AutoAnimate technology does.
DC Shoes used Damage to create a 70's look to their stop motion short, featuring surfing sensation Clay Marzon. Check out the short here...
Here's today's announcement:
FOR IMMEDIATE RELEASE
Digieffects Integrates Sophisticated, Workflow-Enhancing Innovations into Delirium and Damage Family of VFX Plug-Ins
Digieffects’ Delirium v2 and Damage v2 Builds In AutoAnimate Capability Into Select Plug-Ins; Advanced Features, Technology Typical in High End VFX Systems Enables Final Cut Pro and Premiere Pro Editors to Instantly Visualize Effects on the Timeline in Real Time
Wilmington, NC (May 24, 2011) – Digieffects® (www.digieffects.com) announced today it has integrated powerful, innovative workflow-enhancing technology into its family of Delirium v2 and Damage v2 VFX plug-ins, significantly accelerating the editing and VFX workflow for Final Cut Pro and Premiere Pro artists. By integrating powerful AutoAnimate capabilities into several of its plug-ins, Digieffects is enabling editors and VFX artists to seamlessly drop an effect on any clip in a Final Cut Pro or Premiere Pro timeline and instantly see animated results, in real time with no rendering.
Typically available in high end VFX solutions not accessible to independents, smaller boutique agencies and students, Digieffects AutoAnimate capability significantly accelerates the editing and VFX workflow and eliminates the tedium of manually animating parameters of the effects to test their viability in the shot, which is typically an extremely time consuming and impractical process for editors and VFX artists on a deadline. There is no need to keyframe any of the controls unless users want to adjust a certain parameter over the course of time.
“Digieffects’ AutoAnimate innovation is another example of how we’re empowering everyone in the market with very sophisticated workflow solutions at price points that fit today’s constricted budgets,” said Robert Sharp, president of Digieffects. “We have an extremely talented team of developers here at Digieffects that implicitly understand that VFX solutions are not simply about delivering visually stunning results. It’s also about delivering workflow efficiencies and eliminating the obstacles that slow our customers down. And we’re doing it all at a price point that enables our customers to deliver high value results without draining their budget.”
Digieffects AutoAnimate: How it Works
Digieffects AutoAnimate technology enables Delirium v2 and Damage v2 users to easily drop an effect onto a clip in the editing timeline and see the animated results in real time. This significant workflow enhancing capability eliminates the need for artists to manually animate the different parameters of the plug-in to test the viability of the look in each shot. The manual key framing process is extremely slow and tedious and often takes valuable time away from the edit and slows down the post-production process. When the user selects the Delirium or Damage plug-in that works for the shot, they can simply adjust the controls within the settings and that effect will be AutoAnimated.
Delirium v2 includes 45 effects in 5 categories, such as Phenomena, Color, Patterns & Distortions, Mood, and Compositing Tools. Additionally, the Delirium v2 family of VFX plug-ins are available for purchase individually as part of the Company’s a la carte offerings. Delirium v2 plug-ins enabled with AutoAnimate include:
- Bubbles
- Crazy Stripes
- Electrical Arcs
- Fairy Dust
- Fire
- Fireworks
- FogFactory
- Muzzle Flash
- Nexus
- Rainfall
- Smoke
- Snowstorm
- Sparks
- Stargate
Damage V2 includes 7 effects to artistically degrade footage, including Aged Film, Archive, Blockade, Destabilizer, Interference, Overexpose and Skew, and are all enabled with AutoAnimate capability.
Pricing and Availability
Digieffects’ entire family of VFX plug-ins are available immediately and are priced as follows:
- Delirium V2: $299.00
- Damage V2: $99.00
- Buena Depth Cue V2: $199.00
For more information and pricing on Digieffects a la carte options, please visit www.digieffects.com.
About Digieffects
Founded in 1996, Digieffects is a developer of visual effects software. Our software functions as "plug-ins" and work in conjunction with Adobe After Effects, Apple Final Cut Pro, Adobe Premiere Pro, Boris RED and Grass Valley Edius. We have customers all around the world including many of the best known brands in the media and entertainment industry. We service a variety of other markets including corporations, government agencies, universities, non-profit institutions, independent freelancers and hobbyists. Digieffects has also licensed its plugins to Adobe and Roxio for inclusion in their video software applications.
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May 10, 2011
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December 2012
Worth Noting
