Any Linux workflow with Redcode?

[Mat@imageWork]

It exists, and it works... check out the 'Teaser' thread I posted to the other day. What do you want to see/know? I'm not allowed to discuss it publicly, so... perhaps I've already said too much.

HI Kyke,

Do you really use piranha in a day to day basis? I spend some time with Tom last years and due to the lack of info, tutorial etc, I just forget the idea and purchase a smoke. But now, with highly cost maintenance, and the lack of stereo, I'm checking again piranha. It always seems to me a fantastic product, but I can't figurate how it works, and what we can do inside the box, not only for edit and finish (witch I have no doubt it's weapon) but more for VFX and compositing. What is your feeling? (all piranha users becomes afficionados)

thanks mathieu

 

[Kyle Mallory]

In a day-to-day basis? Honestly? I'd probably have to say no. Most of my production is my own independent narrative films, and fun/hobby projects with friends, etc. My camera does most of its duty in rental for other projects, most of which I am never involved with other than the camera equipment.

I've been using Piranha for a little more than a year. I started investigating solutions around April 2007, in prep for getting my RED. My intent for Piranha was primarily for my own productions, but also to be able to support the camera in rentals when needed. However, in Utah, most productions with a budget >$1M come here for photography, and head back to LA for post, which means there is little interest in high-end finishing tools in Utah. All the local projects here under $1M generally don't want to deal with the hassle of R3D->DPX and the storage requirements, etc, and opt for an FCP workflow instead. This is one of the reasons I've been so aggressive about the Linux SDK and a native R3D workflow for Piranha. Hopefully that landscape will change a little for the better as a result.

Anyway, as such, my face time with Piranha on legitimate projects is very limited. That said, I dabble with it almost daily either writing code for plugins, or editing my own stuff, or just learning new things to do with the software. Of the year+ that I've been using it, I've really only felt "confident" in how I use it in the last 4-5 months, but this is purely trial and error, with very little guidance from Tom or outside instruction/training.

Previously, I cut in Vegas on Windows. I tried to go back about a month ago to do a friends acting reel (which I had done previously in Vegas). It infuriated the crap out of me! There are a lot of things Vegas has a smoother, faster workflow for, particularly in cutting & fading, but when it comes to coloring, VFX and compositing, Piranha really shines. Even while cutting in Vegas, there were aspects of Piranha's interface that I felt naked without.

There are plenty of aspects of Piranha that I still have yet to scratch the surface of, but every time I do break through one of them, its a "Holy Shit!" moment.

Inside the Box, IMO, Piranha is nothing more than AfterEffects for Linux (No offense intended, Tom!). What sets it apart is its panels (Edit/Effects/Tree/Paint/Color), which all provide a different interface into the same information. Adobe claims that you can cut with AE, but that its difficult to do, because every clip is a new layer, and the project becomes extremely complex and difficult to manage. In Piranha, you switch to the Edit panel, and you see a different representation of the layer view (Effects), that is more appropriate for editing, reducing the clutter and complexity. Any changes you make to a clip (slipping, trimming, rolling, in/out, etc) in the Edit view are applied to the layer in the Effects view, and vice-versa.

Painting is a little different beast, but I think it still has some of the same principals applied. Tree and Colour are different representations of Effects that are tailored for different workflows. Tree helps to manage/minimize clutter when you have hundreds, or even thousands of layers/clips and associated effects by only showing what effects and layers are visible under the timeline cursor. Colour does the same thing, but is a little more selective in showing the Colour plugin and interfaces only. When you add Colour to a layer in the Colour panel, and switch back to the Layers panel, you see the Colour plugin listed just like any other effect.

I think the biggest set-back that Piranha suffers from currently, is its lack of 3rd Party VFX plugins. Tom has an interface for OFX which should help, but its not complete, and the OFX API is not as simple as everyone hoped it would be. Things like SPFX and support for CG shader scripts goes a long way, but its no replacement for some of the industry standards like Boris or Trapcode.

I've talked to Tom about getting some tutorials online, and he had played around with a few at one time, but I don't know what happened to them. He's also made some space on the IFX website for user forums that I think will be beneficial for users to communicate with each other.

Perhaps more than you asked for? Anyway, hope you find it valuable.

 

[Jason A. Evans]

is piranha free?

 

[Kyle Mallory]

No... It wouldn't be the product it is today if it was free.

 

[michael zaletel]

If Linux Command Line, perhaps then we could all use Amazon's cloud services for super-power-processing of R3D files.

-shooter

 

[Dylan Reeve]

If Linux Command Line, perhaps then we could all use Amazon's cloud services for super-power-processing of R3D files.

-shooter

Right now that would probably be possible, a simple Linux SDK app could be written to create usable frames from the command-line until a more robust implementation (ie. REDline) came out.

However the big problem with this is data. I could quite probably get some free time on the NZ Supercomputer grid (1000+ CPUs) but getting the data in and out would be the really tough part.

Unless you have a very good internet pipe, it's going to be really hard to ship all your R3D RAW footage out to the cluster, and even harder to get your processed footage back. We're talking about footage that is at least 300Mb/s and a few Tb/s when processed to DPX.

That said, with Linux tools comes the realistic promise of building your own cost-effective processing cluster.

 

[Mat@imageWork]

In a day-to-day basis? Honestly? I'd probably have to say no. Most of my production is my own independent narrative films, and fun/hobby projects with friends, etc. My camera does most of its duty in rental for other projects, most of which I am never involved with other than the camera equipment.

I've been using Piranha for a little more than a year. I started investigating solutions around April 2007, in prep for getting my RED. My intent for Piranha was primarily for my own productions, but also to be able to support the camera in rentals when needed. However, in Utah, most productions with a budget >$1M come here for photography, and head back to LA for post, which means there is little interest in high-end finishing tools in Utah. All the local projects here under $1M generally don't want to deal with the hassle of R3D->DPX and the storage requirements, etc, and opt for an FCP workflow instead. This is one of the reasons I've been so aggressive about the Linux SDK and a native R3D workflow for Piranha. Hopefully that landscape will change a little for the better as a result.

Anyway, as such, my face time with Piranha on legitimate projects is very limited. That said, I dabble with it almost daily either writing code for plugins, or editing my own stuff, or just learning new things to do with the software. Of the year+ that I've been using it, I've really only felt "confident" in how I use it in the last 4-5 months, but this is purely trial and error, with very little guidance from Tom or outside instruction/training.

Previously, I cut in Vegas on Windows. I tried to go back about a month ago to do a friends acting reel (which I had done previously in Vegas). It infuriated the crap out of me! There are a lot of things Vegas has a smoother, faster workflow for, particularly in cutting & fading, but when it comes to coloring, VFX and compositing, Piranha really shines. Even while cutting in Vegas, there were aspects of Piranha's interface that I felt naked without.

There are plenty of aspects of Piranha that I still have yet to scratch the surface of, but every time I do break through one of them, its a "Holy Shit!" moment.

Inside the Box, IMO, Piranha is nothing more than AfterEffects for Linux (No offense intended, Tom!). What sets it apart is its panels (Edit/Effects/Tree/Paint/Color), which all provide a different interface into the same information. Adobe claims that you can cut with AE, but that its difficult to do, because every clip is a new layer, and the project becomes extremely complex and difficult to manage. In Piranha, you switch to the Edit panel, and you see a different representation of the layer view (Effects), that is more appropriate for editing, reducing the clutter and complexity. Any changes you make to a clip (slipping, trimming, rolling, in/out, etc) in the Edit view are applied to the layer in the Effects view, and vice-versa.

Painting is a little different beast, but I think it still has some of the same principals applied. Tree and Colour are different representations of Effects that are tailored for different workflows. Tree helps to manage/minimize clutter when you have hundreds, or even thousands of layers/clips and associated effects by only showing what effects and layers are visible under the timeline cursor. Colour does the same thing, but is a little more selective in showing the Colour plugin and interfaces only. When you add Colour to a layer in the Colour panel, and switch back to the Layers panel, you see the Colour plugin listed just like any other effect.

I think the biggest set-back that Piranha suffers from currently, is its lack of 3rd Party VFX plugins. Tom has an interface for OFX which should help, but its not complete, and the OFX API is not as simple as everyone hoped it would be. Things like SPFX and support for CG shader scripts goes a long way, but its no replacement for some of the industry standards like Boris or Trapcode.

I've talked to Tom about getting some tutorials online, and he had played around with a few at one time, but I don't know what happened to them. He's also made some space on the IFX website for user forums that I think will be beneficial for users to communicate with each other.

Perhaps more than you asked for? Anyway, hope you find it valuable.

Good to know! Tree? Last I spoke to Tom last year, pirahna haven't...That's a good news. Do you mind to post some screen pictures of IU? I defently need to talk with, as I will need a strong product for a 10 min HD of virtual set extension and heavy comp. Piranha have some a all around solution to import geom and com camera maping in projecting texture, etc...Amazon was build to matte paint on mesh directly...But the user's guide is, let's say, light...


Have you effectively purchased the sw, of it's educational? What is your setup (hw video IO etc...)

Many thanks, Mathieu

 

[ForexGuides]

Any Linux workflow with Redcode?

RankingClick at the star to rank
Ranking Level
User Review: 0 (0 times)
Download now
File size: 1175K
Platform: Any Platform
License: Freeware
Price: $0.00
Downloads: 411
Date added: 2008-09-07
Publisher: Other Publisher