you forgot resolve which might do all these things runs a postgre db and loves dpx and is FREE for what you would probably be doing with the light version. (well when v8 comes out in a few weeks) full version is only $999. Well it would need a Mac also though. unless you have $50k for the linux version.
Randy S. Little http://www.rslittle.com <http://reel.rslittle.com> On Fri, Jun 10, 2011 at 00:55, Johan Boije <[email protected]> wrote: > First you would need a conform station that can bring in all your media. It > needs to be able to handle time code. It should have tape deck control and > have ref monitor out. I'd also prefer if it can handle conforms from file > sequences with time code. It should have editing and time-warp features. And > it should be cheap. Then your options aren't that many. I'd say we're down > to Premiere, Final Cut (not good with file sequences) and, maybe a bit > pricey, Smoke on Mac. > So if you are on a budget Premiere looks promising. I have done some tests > with it myself but had some problems with video cards and that it can't > bring in and split dpx sequences that are rendered with time code names (it > will bring in everything as one big clip with missing frames. Anyways it's > probably possible to fix with some workarounds. > So first you need to conform. This will involve some manual labor. I know > people have built in-house systems that can take files and export stuff in > more automatic ways. But with these off the shelf apps this would have to > mean some manual setting up and exporting. Anyways I have almost never come > across a conform that didn't have problems but that's a whole other story. > So now you have a conform playing nicely. Then you would have to export all > effect shots and plates. Because we are talking Nuke I wouldn't want to use > anything other than file sequences. (This is why I wouldn't recommend Final > Cut because it's so locked in to the whole Quicktime thing, with gamma shit > etc). > So you have exported all shots to your compositors. Now you need to bring > in all comped shots again (as linked files). If you want to set this up from > start you should also make a copy of the source file with a new name (lets > say sh01_comp or something like that). Bring in that and put it on top of > your source edit. So as soon as that comp gets over written/updated with a > new comp that will be reflected in your timeline. These files are mounted > over network so if you want this to be real time you'd need fiber connection > to a network raid (expensive). If you don't have that I guess you'd need to > render to see your updated timeline. > Because you are always replacing your comps it's probably good if the the > comper keeps old rendered versions if you want to go back to an older > version. > If you have Smoke there is some nifty things. There is a function that is > called publish. That means that you can publish your linked conform back to > the network. So as soon as you replace your comp. That will show in the > published sequence on the network. So you and all people involved can see > comps in context automatically updating as soon as the comp gets rendered. > These things takes some time to set up so they are more suited for longer > type of projects to be worth it. > I'd love to see something like this to come from The Foundry... Storm maybe > :-) Anyway something that brings in media and sorts it and that is tightly > integrated with Nuke so that it's easy to bounce media back and forth. That > would be just fantastic! > > Cheers, > Johan > > > > On Thu, Jun 9, 2011 at 8:59 PM, Ned Wilson <[email protected]> wrote: > >> Hey all, >> >> This is sort of more of a philosophical question, I guess I'm trying to >> wrap my head around a workflow of some variety. I'm envisioning a system >> where an edit is continuously updated with the output of Nuke scripts on an >> artist's workstation. I know that some people have used Automatic Duck to >> support a Final Cut -> After FX workflow on the Mac, but I don't know how >> "real-time" this solution is. In addition, I know that Final Cut will allow >> you to do this with Shake. >> >> However, in the interest of being cross platform, and given that many of >> us have CS5 Production Premium installed on our workstations, I think it >> might be a good idea to consider working with Adobe Premiere. >> >> I would imagine that some setup would have to be performed on the >> editorial side, such as importing an EDL, setting up a sequence Quicktime, >> etc. However, wouldn't it be nice to have the ability to have the individual >> shots in the timeline point to the output of a Nuke script instead of to a >> Quicktime on the filesystem? >> >> I know that I could just get a Flame, but for those of us that don't have >> these at our disposal or $200 grand to buy one... does anyone have any >> experience in setting up such a workflow? Any pointers would be much >> appreciated! >> >> Thanks, >> >> -n >> >> >> _______________________________________________ >> Nuke-users mailing list >> [email protected], http://forums.thefoundry.co.uk/ >> http://support.thefoundry.co.uk/cgi-bin/mailman/listinfo/nuke-users >> > > > _______________________________________________ > Nuke-users mailing list > [email protected], http://forums.thefoundry.co.uk/ > http://support.thefoundry.co.uk/cgi-bin/mailman/listinfo/nuke-users >
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