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Autodesk Smoke 2009 User Guide 다운로드
From commercials to long-form episodic television shows, Autodesk? Smoke? systems software for creative editorial finishing delivers the robust visual effects capabilities and high performance your clients demand. Benefiting from many of the effects creation tools found in Autodesk? Flame? systems software, as well as the ability to conform from EDLs, AAF, and Final Cut Pro? XML, Smoke gives you the flexibility you need to finish any job faster and with more streamlined delivery of content.
Handle any project that comes through your door―film, commercials, long-form episodics, bumpers, and promos―on a single system. In an era of project-based billing and increasingly complex client demands, your editing and finishing system needs to do more―and more efficiently. Autodesk? Smoke? systems software is the premier all-in-one solution for online editing and creative finishing, providing real-time, mixed-resolution interactivity for all types of creative editorial work and client-supervised sessions.
Autodesk Smoke 2009 enables you to create interactively―and quickly. Featuring a powerful 64-bit architecture and industry-leading tools for conforming, editing, audio, paint, character generation, graphic design, and visual effects creation in a 3D compositing environment, Smoke leverages Autodesk’s Master Keyer and Colour Warper™ technologies.
Increased visual effects capabilities are now part of Autodesk Smoke 2009. The Batch* procedural compositing environment promotes effects-centric finishing by opening up the workflow between timeline and effects, making the already powerful Smoke creative tools even more logical and efficient. Designed specifically to work in conjunction with editorial decisions, you can enter Batch using a horizontal or vertical selection of timeline segments and soft effects.
Autodesk Smoke helps you maintain color consistency across all shots, design captivating titles and graphic elements, create versions, and output your final project to multiple formats. Autodesk’s award-winning creative tools, performance, and interactivity enable editors and clients to collaborate and achieve the desired visual results.
Differentiate yourself from the competition by creating intuitively, collaboratively, and quickly with a reliable, performance-proven creative editorial finishing system. Powerful visual effects, streamlined workflow, and the ability to design your own templates enable you to bring your story to life faster. Whether you are working with SD or HD video, or in a true file-based, data-centric environment, Smoke is designed to accelerate your creative workflow and let you deliver the highest-quality master possible for film, commercials, and broadcast design.
With support for streaming media formats, including direct-imported Panasonic? P2 MXF files and soft-imported SD or HD QuickTime? media, Smoke can play an integral role as part of a facilitywide workflow―enabling internal processing of images at superior uncompressed RGB image quality with the flexibility to use more of the file formats common in the industry today.
*Batch is available in Smoke 2K.
review
Autodesk Amps Up VFX, Finishing Tools Focus Is on Support for Hybrid Systems, Acting Faster
By David E. Williams
“Our approach is not about ‘thinking different’ but acting faster,” said Mark Petit, senior vice president of Media and Entertainment of Autodesk Inc.
Petit, speaking at the company’s April 13 NAB Show press conference, explained that Autodesk’s customers in the high-end motion picture visual effects and finishing sectors “are under tremendous production pressures and moving four times as much data as they were a few years ago. But the aren’t getting four times the money for doing that work, so we’re supporting them with more efficient workflows, more capability and better interoperability.”
To this end, Autodesk, which took home its fifth Academy of Motion Picture Arts and Sciences honor with a Scientific and Technical Award earlier this year for its contributions to the visual effects industry, announced the 2009 releases of its Inferno, Flame and Flint visual effects software and Smoke finishing system, as well as an Extension 1 addition to the Toxik compositing toolset.
“Our customers use hybrid systems and we have to support that,” said Maurice Patel, Autodesk’s head of industry management, media and entertainment, who recited a litany of the features and enhancements included in each of the company’s upgraded offerings.
With “interoperability” in mind, the 2009 releases of Inferno, Flame and Flint offer expended format support, including the ability to input Panasonic P2 MXF files and common professional QuickTime codecs. They also offer high-quality glow and blur tools and enhanced 3D tracking and auto-stabilization capabilities, as well as enhancements to OpenEXR workflow, which allows artists to perform compositing operations using high-dynamic-range files from such applications as Autodesk’s Maya 3D and Toxik.
Improvements to Smoke for 2009 include a new tree-based compositing workflow dubbed Batch FX, which marries the system’s editorial timeline with a 3D compositing environment, and expanded format support, including Panasonic P2 MXF files and common professional QuickTime codecs. Seeking to expand its marketshare, Autodesk now starts Smoke at $64,000, including storage.
The Extension 1 addition to Toxik offers a Warp Image tool; a new programming tool called Pixel Expression Language (PXL) that allows compositors to create and customize commonly applied effects; and support for video previewing to allow artists to make more informed color decisions.
Autodesk’s 2009 releases of Inferno, Flame, Flint and Smoke will be available this month, with the Toxik Extension 1 following this spring. At its NAB Show booth, Autodesk demonstrated these updates, as well as hosted presentations from users including Brickyard VFX founder Dave Waller and visual effects artist Mandy Sorenson; Imarion Inc. President Alex Olegnowicz; E3 Post Senior Visual Effects Artist Victor Wolansky; and Resolution President and Senior Visual Effects Supervisor Todd Iorio.