Re: [Nuke-users] Greenscreen studio cam/setup
Funny we had a DOP refusing green gels recently though he did come round in the end. Howard On 2 Apr 2014, at 05:55, Frank Rueter|OHUfx fr...@ohufx.com wrote: Yeah, we shot everything on 800 which seems to be every DOPs' standard flavor. I also had to fight with the gaffer to give me a little bit of light on his rather orange green screen. He kept insisting that, because it was perfectly on exposure, it will sing - trust me. The fact that the colour of a green screen is important as well didn't seem to occur to him at all (quote: the colour is shit but it's perfectly exposed). I had to show him GreenScreener on my phone to convince him that some lighting was in order, though he refused to give me the blue/green gels I was asking for, so I now have a perfectly exposed orange screen with under exposed warm interior in the fg. Can't wait to get the plates :) On 4/2/14, 11:00 AM, Howard Jones wrote: We had a problem on a shoot a few years ago. Was 4:4:4 afaik on an Arri but at the time they were recommending 800 ASA. As it was a night scene the DOP underlit. Now because of the gamma curve, especially as it was set to gain detail in blacks, the noise levels were awful. Worst keying I've ever had to do. I understand 200 ASA is now recommended. Unfortunatly here 4:4:4 didn't help at all. Howard On 1 Apr 2014, at 22:19, Frank Rueter|OHUfx fr...@ohufx.com wrote: I just came back from a shoot where I did just that - insist on 2k compression. We were meant to shoot 3k raw but since production failed to secure a T-Link, 2k prores was the next best thing I could ask for. I told them 422 would be unacceptable for vfx, especially for keying. I always ask the vfx house why and they shrug their shoulders The only problem on set is simply the increased data rate, hence the need to swap ou the card a little more more often and require more disc space (and a little bit of more time) for the data wrangler to manage backups etc. I can see this as an argument for drama only shots when you try to decide between 2k and 4k raw, but in I would never take this as an excuse to shoot 422 footage for vfx use. I'd rather not take the job. The more severe reason for this is usually simply lack of knowledge on the production side and lack of communication up front to establish the required camera settings before it's too late. It's a good idea to have the camera's spec sheet handy and refer to that before the shoot to avoid any misconceptions. Sorry if this sounds a bit smart-arsy, but since I just had that very scenario last week I thought I'd chime in. Cheers, frank On 3/30/14, 1:23 PM, Deke Kincaid wrote: The lowend Alexa shoots 12 bit Prores 444 on the SxS cards in LogC. Though for whatever reason tv shows always seem to shoot it in 422 mode. I'm not sure if it's out of habit or they are trying to get more time on each SxS card? I always ask the vfx house why and they shrug their shoulders and say they couldn't sway production to do it differently. I would just try to push production to shot prores 444 instead of getting another device. -- Deke Kincaid Creative Specialist The Foundry Skype: dekekincaid Tel: (310) 399 4555 - Mobile: (310) 883 4313 Web: www.thefoundry.co.uk Email: d...@thefoundry.co.uk On Sat, Mar 29, 2014 at 4:10 PM, J Bills jbillsn...@flickfx.com wrote: Hey y'all - might be a little behind the curve here but doing a batch of greenscreen shots shot on Alexa and it's pretty ratty. this is 4:2:2, but just doing a couple of google searches shows that there's a not terribly expensive (relatively) Gemini recorder that can get 4:4:4 off of it, so it seems like I might need to forward a couple of links and make some suggestions for next time. ;) Just curious since I've not looked into it for a while - is there a new killer setup that can get nice clean 4:4:4 GS HD footage on a reasonable budget? bonus points for 10 bit, log, dng, etc. You hear blips about the Blackmagic cams or Magic Lantern setups or whatever but I'm just curious if anyone has been keying any of this stuff and been impressed with anything, or done some testing? Anything reasonably portable out there you've come across or do you still need to tether to a RAID and capture through HDMI? NAB is just around the corner! ___ Nuke-users mailing list Nuke-users@support.thefoundry.co.uk, http://forums.thefoundry.co.uk/ http://support.thefoundry.co.uk/cgi-bin/mailman/listinfo/nuke-users ___ Nuke-users mailing list Nuke-users@support.thefoundry.co.uk, http://forums.thefoundry.co.uk/ http://support.thefoundry.co.uk/cgi-bin/mailman/listinfo/nuke-users -- ohufxLogo_50x50.png vfx compositing | workflow customisation and consulting
Re: [Nuke-users] Greenscreen studio cam/setup
We are shooting a test with the Epic Dragon next week. I might do a wedge with green and blue gels to have something in my back pocket for the next onset argument :-D On 4/2/14, 7:30 PM, Howard Jones wrote: Funny we had a DOP refusing green gels recently though he did come round in the end. Howard On 2 Apr 2014, at 05:55, Frank Rueter|OHUfx fr...@ohufx.com wrote: Yeah, we shot everything on 800 which seems to be every DOPs' standard flavor. I also had to fight with the gaffer to give me a little bit of light on his rather orange "green screen". He kept insisting that, because it was perfectly on exposure, "it will sing - trust me". The fact that the colour of a green screen is important as well didn't seem to occur to him at all (quote: "the colour is shit but it's perfectly exposed"). I had to show him GreenScreener on my phone to convince him that some lighting was in order, though he refused to give me the blue/green gels I was asking for, so I now have a perfectly exposed orange screen with under exposed warm interior in the fg. Can't wait to get the plates :) On 4/2/14, 11:00 AM, Howard Jones wrote: We had a problem on a shoot a few years ago. Was 4:4:4 afaik on an Arri but at the time they were recommending 800 ASA. As it was a night scene the DOP underlit. Now because of the gamma curve, especially as it was set to gain detail in blacks, the noise levels were awful. Worst keying I've ever had to do. I understand 200 ASA is now recommended. Unfortunatly here 4:4:4 didn't help at all. Howard On 1 Apr 2014, at 22:19, Frank Rueter|OHUfx fr...@ohufx.com wrote: I just came back from a shoot where I did just that - insist on 2k compression. We were meant to shoot 3k raw but since production failed to secure a T-Link, 2k prores was the next best thing I could ask for. I told them 422 would be unacceptable for vfx, especially for keying. I always ask the vfx house why and they shrug their shoulders The only "problem" on set is simply the increased data rate, hence the need to swap ou the card a little more more often and require more disc space (and a little bit of more time) for the data wrangler to manage backups etc. I can see this as an argument for drama only shots when you try to decide between 2k and 4k raw, but in I would never take this as an excuse to shoot 422 footage for vfx use. I'd rather not take the job. The more severe reason for this is usually simply lack of knowledge on the production side and lack of communication up front to establish the required camera settings before it's too late. It's a good idea to have the camera's spec sheet handy and refer to that before the shoot to avoid any misconceptions. Sorry if this sounds a bit smart-arsy, but since I just had that very scenario last week I thought I'd chime in. Cheers, frank On 3/30/14, 1:23 PM, Deke Kincaid wrote: The lowend Alexa shoots 12 bit Prores 444 on the SxS cards in LogC. Though for whatever reason tv shows always seem to shoot it in 422 mode. I'm not sure if it's out of habit or they are trying to get more time on each SxS card? I always ask the vfx house why and they shrug their shoulders and say they couldn't sway production to do it differently. I would just try to push production to shot prores 444 instead of getting another device.
Re: [Nuke-users] Greenscreen studio cam/setup
Hahaha! That's classic Frank! On my last project I was faced with a few of these lighting the should be green bg. [image: Inline image 1] Really cool stuff, but thanks to Saint Méliès I've managed to convince them it wouldn't work post wise. As for Alexa's 800 ASA I have to say that it gives me a harder time pulling keys. It does tend to leave the mid grey kind of in the middle in terms of latitude but it comes at noisy price when keying if compared to shooting at lower ASAs from what I've seen so far. I tend to push for 400 or 200 whenever possible, but convincing DOPs to sacrifice the highlights headroom isn't always feasible. -diogo On Wed, Apr 2, 2014 at 1:55 AM, Frank Rueter|OHUfx fr...@ohufx.com wrote: Yeah, we shot everything on 800 which seems to be every DOPs' standard flavor. I also had to fight with the gaffer to give me a little bit of light on his rather orange green screen. He kept insisting that, because it was perfectly on exposure, it will sing - trust me. The fact that the colour of a green screen is important as well didn't seem to occur to him at all (quote: the colour is shit but it's perfectly exposed). I had to show him GreenScreener on my phone to convince him that some lighting was in order, though he refused to give me the blue/green gels I was asking for, so I now have a perfectly exposed orange screen with under exposed warm interior in the fg. Can't wait to get the plates :) On 4/2/14, 11:00 AM, Howard Jones wrote: We had a problem on a shoot a few years ago. Was 4:4:4 afaik on an Arri but at the time they were recommending 800 ASA. As it was a night scene the DOP underlit. Now because of the gamma curve, especially as it was set to gain detail in blacks, the noise levels were awful. Worst keying I've ever had to do. I understand 200 ASA is now recommended. Unfortunatly here 4:4:4 didn't help at all. Howard On 1 Apr 2014, at 22:19, Frank Rueter|OHUfx fr...@ohufx.com wrote: I just came back from a shoot where I did just that - insist on 2k compression. We were meant to shoot 3k raw but since production failed to secure a T-Link, 2k prores was the next best thing I could ask for. I told them 422 would be unacceptable for vfx, especially for keying. I always ask the vfx house why and they shrug their shoulders The only problem on set is simply the increased data rate, hence the need to swap ou the card a little more more often and require more disc space (and a little bit of more time) for the data wrangler to manage backups etc. I can see this as an argument for drama only shots when you try to decide between 2k and 4k raw, but in I would never take this as an excuse to shoot 422 footage for vfx use. I'd rather not take the job. The more severe reason for this is usually simply lack of knowledge on the production side and lack of communication up front to establish the required camera settings before it's too late. It's a good idea to have the camera's spec sheet handy and refer to that before the shoot to avoid any misconceptions. Sorry if this sounds a bit smart-arsy, but since I just had that very scenario last week I thought I'd chime in. Cheers, frank On 3/30/14, 1:23 PM, Deke Kincaid wrote: The lowend Alexa shoots 12 bit Prores 444 on the SxS cards in LogC. Though for whatever reason tv shows always seem to shoot it in 422 mode. I'm not sure if it's out of habit or they are trying to get more time on each SxS card? I always ask the vfx house why and they shrug their shoulders and say they couldn't sway production to do it differently. I would just try to push production to shot prores 444 instead of getting another device. [image: Inline image 1] -- Deke Kincaid Creative Specialist The Foundry Skype: dekekincaid Tel: (310) 399 4555 - Mobile: (310) 883 4313 Web: www.thefoundry.co.uk Email: d...@thefoundry.co.uk On Sat, Mar 29, 2014 at 4:10 PM, J Bills jbillsn...@flickfx.com wrote: Hey y'all - might be a little behind the curve here but doing a batch of greenscreen shots shot on Alexa and it's pretty ratty. this is 4:2:2, but just doing a couple of google searches shows that there's a not terribly expensive (relatively) Gemini recorder that can get 4:4:4 off of it, so it seems like I might need to forward a couple of links and make some suggestions for next time. ;) Just curious since I've not looked into it for a while - is there a new killer setup that can get nice clean 4:4:4 GS HD footage on a reasonable budget? bonus points for 10 bit, log, dng, etc. You hear blips about the Blackmagic cams or Magic Lantern setups or whatever but I'm just curious if anyone has been keying any of this stuff and been impressed with anything, or done some testing? Anything reasonably portable out there you've come across or do you still need to tether to a RAID and capture through HDMI? NAB is just around the corner!
Re: [Nuke-users] Greenscreen studio cam/setup
I just came back from a shoot where I did just that - insist on 2k compression. We were meant to shoot 3k raw but since production failed to secure a T-Link, 2k prores was the next best thing I could ask for. I told them 422 would be unacceptable for vfx, especially for keying. I always ask the vfx house why and they shrug their shoulders The only "problem" on set is simply the increased data rate, hence the need to swap ou the card a little more more often and require more disc space (and a little bit of more time) for the data wrangler to manage backups etc. I can see this as an argument for drama only shots when you try to decide between 2k and 4k raw, but in I would never take this as an excuse to shoot 422 footage for vfx use. I'd rather not take the job. The more severe reason for this is usually simply lack of knowledge on the production side and lack of communication up front to establish the required camera settings before it's too late. It's a good idea to have the camera's spec sheet handy and refer to that before the shoot to avoid any misconceptions. Sorry if this sounds a bit smart-arsy, but since I just had that very scenario last week I thought I'd chime in. Cheers, frank On 3/30/14, 1:23 PM, Deke Kincaid wrote: The lowend Alexa shoots 12 bit Prores 444 on the SxS cards in LogC. Though for whatever reason tv shows always seem to shoot it in 422 mode. I'm not sure if it's out of habit or they are trying to get more time on each SxS card? I always ask the vfx house why and they shrug their shoulders and say they couldn't sway production to do it differently. I would just try to push production to shot prores 444 instead of getting another device. -- Deke Kincaid Creative Specialist The Foundry Skype:dekekincaid Tel:(310) 399 4555-Mobile: (310)883 4313 Web:www.thefoundry.co.uk Email: d...@thefoundry.co.uk On Sat, Mar 29, 2014 at 4:10 PM, J Bills jbillsn...@flickfx.com wrote: Hey y'all - might be a little behind the curve here but doing a batch of greenscreen shots shot on Alexa and it's pretty ratty. this is 4:2:2, but just doing a couple of google searches shows that there's a not terribly expensive (relatively) "Gemini" recorder that can get 4:4:4 off of it, so it seems like I might need to forward a couple of links and make some "suggestions" for next time. ;) Just curious since I've not looked into it for a while - is there a new killer setup that can get nice clean 4:4:4 GS HD footage on a reasonable budget? bonus points for 10 bit, log, dng, etc. You hear blips about the Blackmagic cams or Magic Lantern setups or whatever but I'm just curious if anyone has been keying any of this stuff and been impressed with anything, or done some testing? Anything reasonably portable out there you've come across or do you still need to tether to a RAID and capture through HDMI? NAB is just around the corner! ___ Nuke-users mailing list Nuke-users@support.thefoundry.co.uk, http://forums.thefoundry.co.uk/ http://support.thefoundry.co.uk/cgi-bin/mailman/listinfo/nuke-users ___ Nuke-users mailing list Nuke-users@support.thefoundry.co.uk, http://forums.thefoundry.co.uk/ http://support.thefoundry.co.uk/cgi-bin/mailman/listinfo/nuke-users -- vfx compositing | workflow customisation and consulting ___ Nuke-users mailing list Nuke-users@support.thefoundry.co.uk, http://forums.thefoundry.co.uk/ http://support.thefoundry.co.uk/cgi-bin/mailman/listinfo/nuke-users
Re: [Nuke-users] Greenscreen studio cam/setup
We had a problem on a shoot a few years ago. Was 4:4:4 afaik on an Arri but at the time they were recommending 800 ASA. As it was a night scene the DOP underlit. Now because of the gamma curve, especially as it was set to gain detail in blacks, the noise levels were awful. Worst keying I've ever had to do. I understand 200 ASA is now recommended. Unfortunatly here 4:4:4 didn't help at all. Howard On 1 Apr 2014, at 22:19, Frank Rueter|OHUfx fr...@ohufx.com wrote: I just came back from a shoot where I did just that - insist on 2k compression. We were meant to shoot 3k raw but since production failed to secure a T-Link, 2k prores was the next best thing I could ask for. I told them 422 would be unacceptable for vfx, especially for keying. I always ask the vfx house why and they shrug their shoulders The only problem on set is simply the increased data rate, hence the need to swap ou the card a little more more often and require more disc space (and a little bit of more time) for the data wrangler to manage backups etc. I can see this as an argument for drama only shots when you try to decide between 2k and 4k raw, but in I would never take this as an excuse to shoot 422 footage for vfx use. I'd rather not take the job. The more severe reason for this is usually simply lack of knowledge on the production side and lack of communication up front to establish the required camera settings before it's too late. It's a good idea to have the camera's spec sheet handy and refer to that before the shoot to avoid any misconceptions. Sorry if this sounds a bit smart-arsy, but since I just had that very scenario last week I thought I'd chime in. Cheers, frank On 3/30/14, 1:23 PM, Deke Kincaid wrote: The lowend Alexa shoots 12 bit Prores 444 on the SxS cards in LogC. Though for whatever reason tv shows always seem to shoot it in 422 mode. I'm not sure if it's out of habit or they are trying to get more time on each SxS card? I always ask the vfx house why and they shrug their shoulders and say they couldn't sway production to do it differently. I would just try to push production to shot prores 444 instead of getting another device. -- Deke Kincaid Creative Specialist The Foundry Skype: dekekincaid Tel: (310) 399 4555 - Mobile: (310) 883 4313 Web: www.thefoundry.co.uk Email: d...@thefoundry.co.uk On Sat, Mar 29, 2014 at 4:10 PM, J Bills jbillsn...@flickfx.com wrote: Hey y'all - might be a little behind the curve here but doing a batch of greenscreen shots shot on Alexa and it's pretty ratty. this is 4:2:2, but just doing a couple of google searches shows that there's a not terribly expensive (relatively) Gemini recorder that can get 4:4:4 off of it, so it seems like I might need to forward a couple of links and make some suggestions for next time. ;) Just curious since I've not looked into it for a while - is there a new killer setup that can get nice clean 4:4:4 GS HD footage on a reasonable budget? bonus points for 10 bit, log, dng, etc. You hear blips about the Blackmagic cams or Magic Lantern setups or whatever but I'm just curious if anyone has been keying any of this stuff and been impressed with anything, or done some testing? Anything reasonably portable out there you've come across or do you still need to tether to a RAID and capture through HDMI? NAB is just around the corner! ___ Nuke-users mailing list Nuke-users@support.thefoundry.co.uk, http://forums.thefoundry.co.uk/ http://support.thefoundry.co.uk/cgi-bin/mailman/listinfo/nuke-users ___ Nuke-users mailing list Nuke-users@support.thefoundry.co.uk, http://forums.thefoundry.co.uk/ http://support.thefoundry.co.uk/cgi-bin/mailman/listinfo/nuke-users -- ohufxLogo_50x50.png vfx compositing | workflow customisation and consulting ___ Nuke-users mailing list Nuke-users@support.thefoundry.co.uk, http://forums.thefoundry.co.uk/ http://support.thefoundry.co.uk/cgi-bin/mailman/listinfo/nuke-users ___ Nuke-users mailing list Nuke-users@support.thefoundry.co.uk, http://forums.thefoundry.co.uk/ http://support.thefoundry.co.uk/cgi-bin/mailman/listinfo/nuke-users
Re: [Nuke-users] Greenscreen studio cam/setup
Yeah, we shot everything on 800 which seems to be every DOPs' standard flavor. I also had to fight with the gaffer to give me a little bit of light on his rather orange "green screen". He kept insisting that, because it was perfectly on exposure, "it will sing - trust me". The fact that the colour of a green screen is important as well didn't seem to occur to him at all (quote: "the colour is shit but it's perfectly exposed"). I had to show him GreenScreener on my phone to convince him that some lighting was in order, though he refused to give me the blue/green gels I was asking for, so I now have a perfectly exposed orange screen with under exposed warm interior in the fg. Can't wait to get the plates :) On 4/2/14, 11:00 AM, Howard Jones wrote: We had a problem on a shoot a few years ago. Was 4:4:4 afaik on an Arri but at the time they were recommending 800 ASA. As it was a night scene the DOP underlit. Now because of the gamma curve, especially as it was set to gain detail in blacks, the noise levels were awful. Worst keying I've ever had to do. I understand 200 ASA is now recommended. Unfortunatly here 4:4:4 didn't help at all. Howard On 1 Apr 2014, at 22:19, Frank Rueter|OHUfx fr...@ohufx.com wrote: I just came back from a shoot where I did just that - insist on 2k compression. We were meant to shoot 3k raw but since production failed to secure a T-Link, 2k prores was the next best thing I could ask for. I told them 422 would be unacceptable for vfx, especially for keying. I always ask the vfx house why and they shrug their shoulders The only "problem" on set is simply the increased data rate, hence the need to swap ou the card a little more more often and require more disc space (and a little bit of more time) for the data wrangler to manage backups etc. I can see this as an argument for drama only shots when you try to decide between 2k and 4k raw, but in I would never take this as an excuse to shoot 422 footage for vfx use. I'd rather not take the job. The more severe reason for this is usually simply lack of knowledge on the production side and lack of communication up front to establish the required camera settings before it's too late. It's a good idea to have the camera's spec sheet handy and refer to that before the shoot to avoid any misconceptions. Sorry if this sounds a bit smart-arsy, but since I just had that very scenario last week I thought I'd chime in. Cheers, frank On 3/30/14, 1:23 PM, Deke Kincaid wrote: The lowend Alexa shoots 12 bit Prores 444 on the SxS cards in LogC. Though for whatever reason tv shows always seem to shoot it in 422 mode. I'm not sure if it's out of habit or they are trying to get more time on each SxS card? I always ask the vfx house why and they shrug their shoulders and say they couldn't sway production to do it differently. I would just try to push production to shot prores 444 instead of getting another device. -- Deke Kincaid Creative Specialist The Foundry Skype:dekekincaid Tel:(310) 399 4555-Mobile: (310)883 4313 Web:www.thefoundry.co.uk Email: d...@thefoundry.co.uk On Sat, Mar 29, 2014 at 4:10 PM, J Bills jbillsn...@flickfx.com wrote: Hey y'all - might be a little behind the curve here but doing a batch of greenscreen shots shot on Alexa and it's pretty ratty. this is 4:2:2, but just doing a couple of google searches shows that there's a not terribly expensive (relatively) "Gemini" recorder that
Re: [Nuke-users] Greenscreen studio cam/setup
Bm cam keys fine records to ssd that just plug in. Format is cinema dng. Needs lots batteries can't beat the price if it meets the shoot criteria. On Mar 29, 2014 7:10 PM, J Bills jbillsn...@flickfx.com wrote: Hey y'all - might be a little behind the curve here but doing a batch of greenscreen shots shot on Alexa and it's pretty ratty. this is 4:2:2, but just doing a couple of google searches shows that there's a not terribly expensive (relatively) Gemini recorder that can get 4:4:4 off of it, so it seems like I might need to forward a couple of links and make some suggestions for next time. ;) Just curious since I've not looked into it for a while - is there a new killer setup that can get nice clean 4:4:4 GS HD footage on a reasonable budget? bonus points for 10 bit, log, dng, etc. You hear blips about the Blackmagic cams or Magic Lantern setups or whatever but I'm just curious if anyone has been keying any of this stuff and been impressed with anything, or done some testing? Anything reasonably portable out there you've come across or do you still need to tether to a RAID and capture through HDMI? NAB is just around the corner! ___ Nuke-users mailing list Nuke-users@support.thefoundry.co.uk, http://forums.thefoundry.co.uk/ http://support.thefoundry.co.uk/cgi-bin/mailman/listinfo/nuke-users ___ Nuke-users mailing list Nuke-users@support.thefoundry.co.uk, http://forums.thefoundry.co.uk/ http://support.thefoundry.co.uk/cgi-bin/mailman/listinfo/nuke-users
Re: [Nuke-users] Greenscreen studio cam/setup
The lowend Alexa shoots 12 bit Prores 444 on the SxS cards in LogC. Though for whatever reason tv shows always seem to shoot it in 422 mode. I'm not sure if it's out of habit or they are trying to get more time on each SxS card? I always ask the vfx house why and they shrug their shoulders and say they couldn't sway production to do it differently. I would just try to push production to shot prores 444 instead of getting another device. [image: Inline image 1] -- Deke Kincaid Creative Specialist The Foundry Skype: dekekincaid Tel: (310) 399 4555 - Mobile: (310) 883 4313 Web: www.thefoundry.co.uk Email: d...@thefoundry.co.uk On Sat, Mar 29, 2014 at 4:10 PM, J Bills jbillsn...@flickfx.com wrote: Hey y'all - might be a little behind the curve here but doing a batch of greenscreen shots shot on Alexa and it's pretty ratty. this is 4:2:2, but just doing a couple of google searches shows that there's a not terribly expensive (relatively) Gemini recorder that can get 4:4:4 off of it, so it seems like I might need to forward a couple of links and make some suggestions for next time. ;) Just curious since I've not looked into it for a while - is there a new killer setup that can get nice clean 4:4:4 GS HD footage on a reasonable budget? bonus points for 10 bit, log, dng, etc. You hear blips about the Blackmagic cams or Magic Lantern setups or whatever but I'm just curious if anyone has been keying any of this stuff and been impressed with anything, or done some testing? Anything reasonably portable out there you've come across or do you still need to tether to a RAID and capture through HDMI? NAB is just around the corner! ___ Nuke-users mailing list Nuke-users@support.thefoundry.co.uk, http://forums.thefoundry.co.uk/ http://support.thefoundry.co.uk/cgi-bin/mailman/listinfo/nuke-users ___ Nuke-users mailing list Nuke-users@support.thefoundry.co.uk, http://forums.thefoundry.co.uk/ http://support.thefoundry.co.uk/cgi-bin/mailman/listinfo/nuke-users
