The short film ‘Creep’ was our entry into the Sci-fi London 48-hour film challenge 2013.
This was the unpainted frame from the Sony fs700 camera
AfterThen, after 15 hours matte painting, our destroyed London shrouded in radioactive fog.
With this kinda of thing there’s so much detail to add I’ll just keep working until some-one pulls the plug. It would have been nice to add larger broken features to the foreground but there simply wasn’t enough time.
These are our top tips for managing the post-production process. Essentially we’re trying to control these truisms.
This is a brief breakdown of the maths behind Fusion’s Merge Tool.
The Operator modes are well documented. But, I’ve done some digging around to uncover the maths behind the Apply mode, Alpha Gain and Burn In.
I picked this up on the pigsfly forum. I’ve yet to try it but it looks like a very cool technique. ( I’ve be looking around for a cheap way to do smoke FX. )
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This in depth article covers ways to use a grading artist 3d LUT file to view your work in Fusion. It’s shows alternatives to using stacked LUT’s, and shows how to test your workflow for clipping. It’s part of a series of articles on Log colour and Linear workflows in fusion.
We’ve been looking at a tigher workflow between the Quantel suite and the compositors at Lexhag. While setting up the linear workflow for DPX sequences and LUT files. I noticed some clipping issues in the viewport and started this thread at pigsfly.com. That thread grew into this document from some work arounds suggested by Eyeon’s tech support (who have been awesome), some head scratching, and a bit of maths. As a result this problem has been fixed in the latest version of Fusion.
