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158 frames so far. dunno wht iy looks kinda blurry rendered from vegas movie studio.
guess what, no extra work to make the bars, haz an auto feature to "letterbox"
haz to learn how to embed mp4 player from a html page.
when i click on an mp4 from my da stash, it plays in a web page. when i click on mp4 file from my own site, it downloads
http://orig08.deviantart.net/6374/f/2016/069/f/5/testt4_by_realmgal-d9ungr0.mp4
there's a vegas pro Edit. is a bit cheaper
lights
default scene has 2 lights, one is the sun.
frame 569
89 hours elapsed. 193 hours to go. might pause it for a few days. can start up again at frame 570
posted on the sony vegas forum about the inexplicable blur,
response said something about a constant bit rate
no the fake GI lightdome is full of replicated lights!!!!!!
is faster than GI but still a resource hog, if you want fast lose the realistic sky and sun and use a distant light with ambient and a background gradient.
up to, 748 frames in ... 120:58 hours
That's dedication for you...
well, ended it, on to the next render.
cant find the movie settings to preserve the quality of the png renders
would anyone like to have a go at finding the best makemovie settings?
i zipped up the render frames, it's 5-hundred-ee mbs
http://www.realmsandgalaxies.com/SecretLake/ it's the 760 frames file
Do they use Alpha? What codec have you tried? I compile mine using the QT Animation codec (respects the alpha channel), then take it into my video editor for compositing.
If you don't need to preserve an alpha channel, and you wish to edit the video, add sound, etc. Then look up the editing software's native format and use that. I would think it would be the default if the editing software compiles the image sequence for you.
For sharing the video on Youtube, try h.264. It is an mp4 CODEC. For better quality you will want a 2 pass encode, and a variable bit-rate. You will want a higher bit rate as Youtube will compress the video again after it is uploaded (so will Vimeo, FB and any other site that streams video). The higher the quality that Youtube gets, the less crappy their ham-handed compression scheme will look. Check on Youtube for recommendations. I know they're there, but I don't have a link.
no alpha. part of the exercise was to test out animating the realisitc sky. keyframing sun position calculations. works
i'd be happy to see the png resolution running from my harddrive in QT or wmp.
howie makes the most detailed sets i've ever seen, and i can't find a way to translate it into video. {{doh}}
I have no problem compiling a .png image sequence in QT and retaining quality. I use the Animation Codec, even when I'm not using alphas. It is a big file due to the compression being low.
If I am done editing a video and I wish to share it on youtube, I try and use h.264 with high quality settings, a variable bit rate and a 2 pass encode. All my videos haven't been saved and uploaded that way to youtube, especially the older ones, so some of them kind of suck for compression.
looking at the vob files on ironman dvd, (not blueray)
it says 720x480
frame rate 29 frames
data rate: 9800kbps
total bitrate: 10248kbps
when i play the movie in full screen mode on my monitor, i dont see pixelation or banding..
when i render 720x480 and full screen it, it looks like crap
I don't think Vegas supports image sequences.
Here's my workflow:
Carrara rendered video clips (I never use sound in these) saved in either avi or sequenced png or tga, depending upon the needs afterwards
These get brought into Howler (always) for at least some amount of editing, then saved to (almost always) avi, sometimes sequenced png or other
Now I'm in the process of learning Fusion and HitFilm. So the clips come from Howler into either (or both) of these - again, depending on what I'm doing with it.
Finally, I bring them into Vegas and edit the movie together with all of my assorted clips.
In Vegas I edit in the audio to match wherever I need matched audio to the video, like voices, for example. Then comes foley and other sounds. I have a decent collection of sounds, but I'm having a lot of fun making various Foley myself, like they do in major productions. Then I'll take the music that I've written and finalize it against the movie - rewriting it to follow the timing of the final edit of the movie.
Even this will get saved without any compression, just to have a master copy, but this is the only time that I use Codecs to compress my files. Before that I keep everything uncompressed. Some of my colleagues and mentors find this behavior absurd, however, so take that for what it's worth... but I haven't been a big fan of using codecs prior to the final out. Phillip Staiger taught me to use Lagarith codec, as it is lossless and does a decent job of compression... I still haven't used it - but I do have it installed now ;)
sadly Misty's files will not download for me it completes halfway and cannot be unzipped or I would try them in Hitfilm express.
I am a bit late to this thread but if you want to play around with it, HitFilm 3 express is still free. You can bring in a sequence there are some very nice tutorials doing things with it on that page and on the website.
https://hitfilm.com/express
There is a Hitfilm 4 Pro available but get your feet into it with this one.
I was able to download Misty's files but have not had a chance to do anything with it yet.
Real life has kicked in again.
i can split the d/l zip into smaller chunks. when i get home later.
the avi option in Vegas is video1, nothing that says uncompressed.
i tried rendering 760 pngs in the most uncompressed QT option vegas had, the .movfile came out to over 3gbs.
when i close a project in vegas and reopen, all my track view settings are gone, it reopens with the tracks all squished again. put a question into sony support to see if there's a way to save 'everything' when saving a project file.
it doesn't seem like i can use hitfilm on my offline compy.
looking up howler ...
learned the p in 1080p means progressive scan, as opposed to interlace. always though the p was for pixel lol.
on the flip side, been in the sony forums, mentioning carrara,
trying to learn how many pixels Joss Wheodon's hollywood cameras record @, how many pixels are the raw frames of Ironman, Avengers
https://www.quora.com/What-resolution-are-the-films-made-by-Disney-and-Pixar-rendered-with
sampling pixels 8x8 ?
PD Howler 10 is out. This imports sequence png, better results than vegas?
thanks.
Yes. Without using compression you get much heavier folders. 1080p is much, much larger (file size wise) than what you need when just experimenting. 720 x 480 looks like crap at full screen, yeah... so how about a compromise, like 1280 x 720 (720p HD) which, to me, looks pretty nice at full screen - renders a LOT faster and results in a much smaller file size. I'll chack later, but I have a feeling that sequenced png in a folder are similar in size to an uncompressed avi.
FYI: In Carrara's render room, go to File > Open
You can open renders in one format and save them to another. I've saved some as avi and later realized that they'd make for a great composite in Howler using the animated brush - so I'd open the render (avi) again in Carrara, and Save As a sequenced tga, which is one of the formats allowed in Howler as an animated brush.
Here are a couple examples of how I use Howler:
and an older one:
Not entirely sure what you're asking/trying to do - I am trying to understand...
First of all, Garstor was looking into using image sequences in Sony Vegas and it turned out to require this major work-around that was just silly. Don't do that. If the target software doesn't support one format, then don't save to that format. Sony Vegas does open uncompressed avi files - but it should also load in compressed ones too. Basically, if you're going to use compression (Codec) to save on file sizes, you may want to read up about "Codec"s and understand what they do, so that you can pick out which one you want to use. Lagarith is free and is lossless but might not be supported in all software.
Major filmmakers use special cameras and digital film and shoot at much higher resolutions, so that they can crop it down to cinematic HD. You'll want to be paid to work in a big house studio if you want to work that way - or have massive (and fast!) Hard Drives for saving/storing your files and forget about time being an issue, because those resolutions can take forever to render.
In this example, have a look at 2:35 of this (it goes by really fast) which goes past part of the ILM render farm. When ILM was contracted to do Star Wars Episode I, they had to do a major expansion of that. Anyways, all of those shelves are packed with computers that have no screens, no keyboards or mice, they're just a LOT of high-end multi-core processors, RAM and cooling. It makes a HUGE difference if you can render using thousands of cores.
Still, filmmamkers often start with what's called a "Plate", which is the main film of whatever the background of the scene will be. This is now all done on digital film. So VFX artists will get assigned certain 'parts' to work on, which will be added to the plate in software like Avid, which might be a bit beyond the affordability of the casual user.
Software like Fusion, HitFilm, Natron, Nuke are what we use to add components on top of that Plate. We can do this without having Avid, so don't worry! ;)
Since the plate and whatever we add are different pieces entirely, they don't have to be the same resolution - or the same in really any other aspect - which helps make the magic more reachable when dealing with these high resolutions.
Especially with quick-moving action, we don't need the super high resolution for that, since we'll be applying a high-end motion blur to it in Fusion or HitFilm or whatever anyways. We work the pixels to look right. The software helps with this immensely by giving us antialiasing algorithyms and special blur filters... the works.
Here is one really short section of my current training in this whole realm of composting:
He's basically showing two common resolutions: 720p (1280 x 720) and 2k (2,000 x 2,000) and how the two will relate to each other within Fusion, depending upon whether they're in the foreground or the background. As you've seen, the foreground can be scaled, rotated, and otherwise manipulated whereas the background remains static. So our "Plate" would be placed in the background channel, while our composites of other elements will be added via the foreground channel.
There is much more to that Playlist I've created for myself to learn from.
Howler is Project Dogwaffle Pro, which is still the Artist tool for painting and such in so many ways, but it also has the Animation menu, rotoscoping tools and, as a result, makes for a fine compositor (like in the Fusion example above), but is not 64 bit, so it does have its limitations with really long or really large resolution sequences - but has an excellent method of allowing us to trim the length of footage we bring in as we load it.
HitFilm is new to me, but is very easy to use. I only have the free version and it's pretty great!
So I enjoy having all three: Howler, Fusion and HitFilm to help me to realize my footage into my final vision. It allows me to be more imaginative and expressive in the end ;)
For a bit of history and inspiration regarding all of this stuff, I have another playlist: VFX Inspirations
I had a quick go in Vegas Pro
Just importing, rendering and send it to youtube.
Cool! So "Pro" does allow for sequenced image imports? You know, Studio might too... just not in my version, which is already a few years old. In any case, when I have sequences but need something else, I just use either Carrara or Howler to convert. Now, having Fusion, I can convert to nearly anything - even multiple conversions at once using several 'Savers'.
One day I may end up with Vegas Pro too! ;) Maybe... we'll see
Any v13 version supports sequenced image import: http://www.sonycreativesoftware.com/moviestudio/compare
At the time we were looking into it, I wasn't working with sequences. I tried drag/drop both with the little sequence file still in the folder and without, and it wouldn't just drop in. But since I didn't work that way, it was easy to drop the idea and just not try any harder. He found an article regarding putting each png into the time line and setting the time and then bringing in the next and overlapping them... I got that far and said to myself: "Yeah... that's gonna happen!" I have version 11
It doesn't matter to me though, because by the time my clips reach Vegas, they need to be saved again into 'something' - and I can make that anything - seq or avi
ise using plat 11.
i broke the zip into 3 smaller chunks, should be easier d/l. http://www.realmsandgalaxies.com/SecretLake/
@aspin thanks!! did you customize a template, or was a default?