Relationship Aims to Advance VFX Across Wide Range of Entertainment Media
Press Release
June 8, 2009 Source: Studio Daily
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GenArts, the leading provider of specialized digital visual effects plug-in software for the film and television industries, announced today an agreement that broadens its long-standing relationship with Lucasfilm, the world’s leading film, visual effects and entertainment company. This relationship aims to advance the state of the art of technology for visual effects and compositing across a wide range of entertainment media.
This agreement comprises three key elements:
* First, GenArts software will be deployed across compositing host systems at Lucasfilm companies including Industrial Light & Magic, Lucasfilm Animation, and Lucasfilm Animation Singapore, including it as a standard component of their compositing pipeline.
* Second, it provides a foundation for the two companies to explore opportunities to expand the use of GenArts software across film, television, animation, games and other media, providing audiences a consistent, premium entertainment experience.
* Third, as visual effects become ever more essential to the art of modern-day entertainment media, GenArts and Lucasfilm will exchange ideas to advance the state of the art of specialized visual effects technology across all Lucasfilm divisions.
“GenArts software delivers incredible consistency for the artists’ experience across a wide range of compositing systems”, said Richard Kerris, CTO of Lucasfilm. “This makes it the ideal choice to help Lucasfilm achieve our goal to deliver visual continuity across feature films, television, games and future entertainment mediums.”
Since the company’s founding in 1996, GenArts software has contributed to the production of dozens of Lucasfilm projects including Academy Award-nominated films such as Star Wars Episode I, II and III, Pirates of the Caribbean and Iron Man.
“Over the last 12 years, GenArts has earned our reputation as an innovative technology provider as well as an industry thought leader,”’ said Katherine Hays, CEO of GenArts. “We’re pleased that Lucasfilm has affirmed that distinction by selecting GenArts software to be a standard component of their compositing vocabulary. We’re extremely excited about the opportunity to collaborate with some of the world’s leading compositing artists to better understand their needs as we continue to drive innovative tools into broader entertainment markets”.
Peter McAuley
June 1, 2009 Source: Studio Monthly
Watch the video version of this tutorial
Step 1: Select BCC Deinterlace
Go to the Effects Tab and twirl down the Video Filters group. Twirl down the BCC 5 Effects group. Drag the BCC Deinterlace filter from this list directly onto the imported video clip in the FCP timeline.
Step 2: Set Up FCP Source
Double click the clip in the timeline to move it into the FCP Source Window. Click on the Filters tab in the Source Window; the BCC Deinterlace filter should be present. Select Only Deinterlace from the Operation pop-up. Set the Input Field Order to Lower Field First.
Step 3 Emulate 3:2 pulldown
The clip will now behave as 30p instead of 30i, displaying a full progressive image for every frame. This will not emulate a real-world scenario though, as every frame should not be clean if the clip was originally shot on film and passed through the telecine process. We need to have both full and interlaced frames to emulate 3:2 pulldown. To achieve this result, do the following: Go back to the BCC Deinterlace filter, then select Simulate Pulldown from the Operations pop-up. The Pulldown pop-up selector can be left at its default setting of WWSSW, which translates into Whole frame, Whole frame, Single field, Single field, Whole frame, and refers to the information contained in each frame. This sequence of WWSSW is NTSC standard.
Step 4: Clear Up Artifacts
Most of the time, you will only need to adjust one parameter in the BCC Deinterlace filter. The algorithms in this filter are so powerful that for most cases you simply apply it to the clip that you want to affect and then set the field and/or pulldown order. If, after applying the filter at its default setting, you are still seeing motion artifacts (video combing) in the image, try moving the Motion Sensitivity parameter closer to 100, which should clear up any remaining motion artifacts in the clip. When making adjustments to this parameter it is often helpful to set the filter Operation pop-up selector to View Motion Mask so that you can see how much information from the clip you are feeding into the filter for processing. In this mode, white pixels are subject to alteration by the filter while black pixels are ignored.
Ensure that the Operation pop-up has been set to Simulate Pulldown. Twirl up the filter parameter listing by clicking on the disclosure arrow beside the filter name.
Step 5 Apply BCC match Grain
Go to the Effects Tab and twirl down the Video Filters group. Twirl down the BCC 5 Effects group. Drag the BCC Match Grain filter from this list directly onto the imported video clip in the FCP timeline. Double click the clip in the timeline to move it into the FCP Source Window. Click on the Filters tab in the Source Window; the BCC Match Grain filter should be below the BCC Deinterlace filter. Switch the View pop-up from Final Output to Generated Grain.
Step 6 Adjust match grain colors
The filter now displays a preview of the generated grain in the record monitor. This is a live view and will update as you tweak any grain related parameters. Switch the Grain pop-up from Monochrome to RGB.
Step 7 Load signature grain file
Notice that the grain is now colored, as opposed to the monochrome black and white look of the default setting. Let’s load in a signature grain file into the filter via the Load and Save mechanism built into the filter UI. Click on the L button next to the Grain Presets text in the filter UI. Select the first item in the list, which is labeled 5245 (the number refers to a Kodak grain signature standard).
Step 8 Tweak grain structure
Observe how different the grain structure is from the previously loaded signature sample. Even though we have loaded a sample match, we can tweak the look of this grain structure using the Grain Size and Grain Filter controls. The Grain Size control alters the physical size of the grain, while the Grain Filter intelligently blends this with the original image based on color and luma values inherent in the original clip. The Grain Contrast will be matched to the clip automatically, or this option can be disabled and the grain contrast can then be customized by the user via the Grain Contrast parameter, which only becomes available when the Match Contrast feature is unchecked.
To match the grain from an existing clip, proceed to the Sample Controls group.
Uncheck the Lock Sample checkbox. Twirl down the Sample Controls group. Select a clip in the project bin from which you want to pull the grain and drag it into the sample layer image well in the filter UI. Change the View pop-up to Sample Layer.
Step 9 Apply Film Process filter
You should now see the sample layer in the FCP Record Monitor. Click on the Sample Center target in the filter UI and position the center of the area that you wish to sample for grain in the Record Monitor window. You can adjust the sample size if you need to but in most cases the default setting should be fine. Set the Frame Number in the filter UI from which you would like to pull the grain sample. Change the View pop-up to Generated Grain to see the grain that is being synthesized by the filter. Adjust the Grain Size and the Grain Filter parameters in the filter UI to complete the Match Grain process.
Step 10 Use kodak signature grain file
For the clip that you are working on, we’re going to use a Kodak signature grain file.
Click on the Lock Sample checkbox to re-enable it (the box should be checked). Click the L button in the Grain Presets loader and select the file labeled 5246. Change the value in the parameter labeled Grain Size from 100 to 50. Change the value in the parameter labeled Grain Filter from 10 to 15. Change the View pop-up from Generated Grain to Final Output. This will generate a tight smooth grain, which is more apparent in the quarter-tone through shadow regions and not so visible in the extreme highlights. Twirl up the filter parameter listing by clicking on the disclosure arrow beside the filter name.
Step 11 Apply Film Process filter
Go to the Effects Tab and twirl down the Video Filters group. Twirl down the BCC 5 Effects group. Drag the BCC Film Process filter from this list directly onto the imported video clip in the FCP timeline. Double click the clip in the timeline to move it into the FCP Source Window. Click on the Filters tab in the Source Window—the BCC Film Process filter should be below the BCC Match Grain filter.
When you first apply this filter to any clip, the image result is unaffected by the filter as the filter is awaiting instruction on what film process you would like it to emulate. We’ll start by using one of the preset looks that are included with the filter. Click on the L button in the filter, which is located beneath the Help button at the top of the filter UI. Select the preset labeled BleachBypass.
Step 12 Explore other presets
The clip will now appear as though it was shot on film and that the film was processed using the Bleach Bypass method. Notice the increase in contrast and saturation and the slight silver tint. Now let’s look at a couple of the other presets that are included with this filter.
Click again on the preset Load button. Select the preset labeled HighlightBlooming.
Notice now that the clip appears much softer and that the highlights have a bloom or glow. This particular setting is very useful for wedding shots or sports shots. Let’s load another preset. Click again on the preset Load button. Select the preset labeled OldFilm.
Step 13 Adjust cast
Notice that the clip has taken on a yellow cast, that the colors are muted slightly and that the contrast has been decreased. This is what happens when film has been archived in sub-optimal conditions. Click again on the preset Load button. Select the preset labeled WarmCool.
Step 14 Adjust the Post-process group
The clip should now have a strong cool blue color cast. This cast is controlled by the parameters in the Post-Process group. Twirl down the Post-Process group. Change the value in the Warm/Cool Balance parameter from 20 to 5. Change the value in the Warm/Cool Hue parameter from 5 to 25. Change the value in the Post Brightness parameter from 5 to 0. Change the value in the Post Contrast parameter from 0 to 5. Twirl down the Film Tinting parameter group. Change the value in the Overall Tint parameter from 12 to 2.
Step 15 Add Lens misting to soften
Notice that the clip has now taken on more of a “film look” blue and slightly more contrasty appearance. We’ll soften the overall look by adding a little Lens Misting to make the highlights glow.
Twirl up the Post-Process and Film Tinting groups. Twirl down the Lens Misting group. Change the value in the Shadow Mist parameter from 16.11 to 3. Change the value in the Highlight Mist parameter from 10 to 15. Change the value in the Highlight Spread parameter from 3 to 5. Twirl up the Lens Misting group.
Step 16 save current parameter
Now we have the soft glowing and subtle blue look that we were looking for. Let’s save the current parameter setting as a custom look so that we can use this on other clips either in this sequence or other sequences at a later date. Click on the S button in the filter banner below the Help button. Give the setting a name and press the save button.
Twirl up the filter parameter listing by clicking on the disclosure arrow beside the filter name.
You Guide
Peter McAuley
Senior Product Manager
Boris FX
Peter McAuley has been involved in the development of state-of-the-art graphics technology for print, video and film since the mid-1990s. Since 1999, he’s been a part of the Boris FX team, managing Boris Continuum Complete and other Boris FX product lines.
Peter says keep in mind…
Boris Continuum Complete gives you four filters— BCC Deinterlace, BCC Match Grain, BCC Film Process, and BCC Film Damage—that can create the illusion that your clips originated on film as opposed to tape. The BCC Deinterlace filter can simulate telecine and reverse telecine, which is where video clips at their native rate are slowed down to 24 fps, the native frame rate for film. Adding the BCC Match Grain filter to a video source clip lends an organic film grain appearance to the video by adding moving, colored or black-and-white film grain to the clip. With the BCC Film Process filter you can control things like selective gamma/gain/glow adjustments and overall color tinting with warm and cool preset looks. You can also emulate film/developer mixing and matching with special tank processing effects like Bleach Bypass and Color Push. The BCC Damaged Film filter can be used to simulate the effects of age and handling, as well as add projector lamp flicker and gate weave. The filters should be applied in the order listed above for best results.
I was just given this compliment from a fellow, Patrick, who I am work with to tell his story. Please know that there is a lots of video to come about Patrick and his reasons for helping all of us fight for our Basic Rights. Thanks to Thomas at the B.R.O. for helping to make this happen:
Martin,
I just wanted to take a moment to say thank you for your efforts today
in helping Topher and I to tell our story.
If it can help make a difference in the lives of other deserving couples,
our efforts have been well invested.
Thank You
p
In Loving Memory
Christopher L Rodriguez
1971 – 2009
Emily Hagins, the star and subject of the new semi-documentary ZOMBIE GIRL: THE MOVIE, talks about being a movie geek teenager obsessed with making a zombie movie. The feature film follows her two-year struggle to make her horror epic, with help from her schoolmates and, of course, mom, who puts in a cameo in this interview from AFI DALLAS.
How to make a ZOMBIE GIRL at AFI DALLAS! from AFI DALLAS on Vimeo.
Screenwriter David Bloom discusses his latest film BLOOM, part of the Shorts Competition at AFI DALLAS 08 International Film Festival in this exclusive interview.
BLOOM Screenwriter David Norman At AFI DALLAS 08 International Film Festival from AFI DALLAS on Vimeo.
Joins Paul Bettany in adaptation of TokyoPop comic book
By Borys Kit
June 7, 2009, 11:00 PM ET
Cam Gigandet will star opposite Paul Bettany in “Priest,” a horror Western that Scott Stewart is directing for Screen Gems.
Adapted by Cory Goodman from a TokyoPop comic book, “Priest” is set in a world ravaged by centuries of war between man and vampires and follows a warrior priest (Bettany) who turns against the church to track down a murderous band of vampires who have kidnapped his niece.
Gigandet plays a young wasteland sheriff who is part vampire. He partners with Bettany to save the girl he loves, the niece. That latter part has yet to be cast.
Michael De Luca and Stars Road Entertainment’s Josh Donen are producing along with Mitchell Peck.
Culpepper and senior vp production Eric Paquette are overseeing the project.
The “Priest” deal follows on the heels of Gigandet joining the cast of Screen Gems’ “Easy A,” a comedic re-imagining of “The Scarlet Letter,” starring Emma Stone and Amanda Bynes. Gigandet is playing a third-time senior in high school who still hasn’t graduated.
Gigandet, repped by WME Entertainment, is filming Screen Gems’ thriller “The Roommate” with Leighton Meester and Minka Kelly. The actor is coming off of winning an MTV Movie Award for best fight, awarded for his work in “Twilight.” Gigandet won the award the previous year for “Never Back Down,” making him the only actor to win it in back-to-back years.
I don’t have to say much, this video says it all:
Matt Jeppsen | 05/15
Segway Steadicam transition to stage during a live concert
Saw this link being tweeted amongst those who use that newfangled Twitter thingy. It was a behind-the-scenes video clip of a Eurovision performance rehearsal in which a Steadicam operator rode a Segway at top speed towards the stage, leapt off the Segway onto the stage and proceeded to carry the move into a few circles around the talent, before exiting stage right. It’s the sort of video you have to watch again immediately. After seeing this clip, I hit The Google for a bit and dug up some other BTS clips, as well as the final Steadicam shot from the live performance. You can watch ‘em all below.
Behind the Scenes – Steadicam Op and camera assistant running laps during rehearsal (angle 2)
Live performance footage, includes the crazy Segway+Steadicam shot at around 2:40
I can’t get over how interesting and dynamic this shot is. The transition to stage is surprisingly seamless, even with them tweaking the zoom to punch in tight as he hits the stage. Also love how the op ends up on the opposite side of talent, and then carries it across to the guitarist as they cross in front of talent. It’s a seamless exit. Very cool sequence overall. Over at the Steadicam forums, it’s been suggested that the operator is Karsten Jacobsen.