Returning Fusion tutorials, this time we do a simple animation based on the composition before and then we will exit as quick time movie.

• 1. Open the composition of the previous tutorial .
  de Fusión. We will encourage the node plane with a simple linear motion to see how the Fusion system keyframes.
• 2. . Open the BIN and within the folder selected tools Transform> Transform. del nodo MERGE para que así la transformación tenga lugar sólo en la capa del avión. Drag this new node right at the end of the flow plane but before the MERGE node so that processing takes place only in the layer plane.

If we keep selecting the Transform node, once connected, we see that in the display are some new lines of control. These processing controls, you can try to touch on the viewer itself and so transform the scale, position and rotation of the object. con el vector de la derecha y la posición cambiando de lugar el dentro. The scala becomes stretched to the outer rectangle, the rotation by the vector of the right and the position by moving the inside.

Thus positioned the plane lower left, with some angle to make a path from here up.

Once positioned and while selecting the Transform node, we go to the control window on the right and making sure that we are in the first frame of the timeline, the parameters of selected node "center" and we split on him with the right button. In the menu that appears select SET KEY.

The value changes color, which means that we've encouraged and any transformation we do it will create a new key.

• 3. Now, in the timeline, we are positioned in the frame 40 and move the aircraft position, describing an upward movement. I get a green vector joining the two positions, which indicates that we have encouraged the object correctly.

  In the central workspace select the tab Spline and here we can see how we created a linear interpolation between the two positions. This tab is the heart of the Fusion animation keyframes. Here you get every key lively and we can modify our choice: smooth slopes, moving keys, create loop ...
  At the moment we are only interested this simple linear movimiento.

If the play button we can see how the plane moves. Now let's add a little detail for you to do something more realistic.

• 4.Select Transform node again and within this select the tab with the yellow symbol "radiation." Here we activate the Motion Blur value that will blur the object as it moves, according to speed. We can vary parameters to make more or less pronounced that densefoque.

If we give play to see how the plane now has a motion blur.

If the way you move is not realistic we can try to improve it by changing the angle of the moves it to match the path.

• 5. y mejorar la sensación de desplazamiento. We can also add a new node will encounter in BIN> TRANSFORM> DVE, that can be used to change a little perspective and improve the sense of displacement. Poor to modify the parameters to your liking.

• 6. Now let's take out of this mini animation and create our first clip well done in Fusion.
  To this end, the end of the chain we need to add a node, one of the most essential after LOADER node. SAVER This is the node that will save our clips, frames or previews.
  

  This node can be found in the top bar, named here as SV in red. This bar contains the most used nodes, represented by acronyms. It's completely customizable, so you will have no recourse to BIN añadais whenever a node.

  By adding SAVER ask us where we want to save the clip. The file type we can automatically select the window in side control. This control window contains all the necessary parameters to set the output: format, where you saved the file, etc ... In this tutorial, select a quick time in H264 format, but you can choose any otr
  oo even slideshow jpg, tga ...

  IMPORTANT: The range of animation that will be rendered is selected in the timeline.

  . To conclude we just have to give, then you get RENDER RENDER SETTINGS. Here we select the final render (top quality) or preview (the quality we want for our prior). In this case we select Stop and start rendering.
  

After a short wait we have our animation you can also download below, together with the composition.

• Material for the tutorial:
  
  
• tut04.com

• avion.mov

If you already know not to Stu Maschwitz , it's time to do so. Maschwitz is the author of The DV Rebel's Guide , something like a guide to action films low budget. " (ver este artículo), parece que The DV Rebel´s Guide hubiera sido el libro de cabecera de estos realizadores. Quite in keeping with phenomena such as Bloody Omaha recently appeared or Attila the Hun (see this article), it seems that The DV Rebel's Guide book had been the head of these filmmakers.
Maschwitz gives us clues to build with our DV cameras, After Effect, an arsenal of toy guns and wit, solid action sequences, spending more time in the VFX and color retouching, which sets the budget for cameras or professional.

The book is accompanied by a DVD where we can see one of his shorts, which implements all the techniques that recorded in the book. It also includes scenes for some useful tutorials and scripts for After Effect.

en California, donde ejerce de coordinador de efectos para grandes producciones. Stu Maschwitz, after working for several years at ILM, he founded with two partners, the VFX studio The Orphanage in California, where he works as coordinator for large production effects. Together with his team, is also the developer of the plugins Magic Bullet for After Effects, which surely will know.

It also has an interesting blog, Prolost where, in addition to publicize your book, frequently publishes articles on VFX and postproduction, never leaving aside the "rebel spirit" that permeates the guide.

In this article we continue the previous issue of ending the Aspect Ratio.

, es previsible que poco a poco dejemos de trabajar en formatos 4:3 , pero aún queda algún tiempo para ello. Since HDTV has a 16:9 aspect ratio, is expected to gradually stop working in 4:3, but there is still some time for it.

We assume that the standard TV (SDTV), both PAL and NTSC, has by definition 4:3 proportions. TV broadcasts currently remain mostly 4:3 (except for some digital channels) and DVD format movie star at home (until it begins to give way to Blu ray) is also 4:3.

But despite this, we can display images in 16:9, no increase or a pixel image resolution. This is because, again, the Pixel Aspect Ratio, the joker who found the video engineers to change the proportions of the image without changing its resolution (and to suffer a little video editors).

So when setting up projects that will be broadcast on TV or on DVD mastered we have to take into account the issue of Aspect Ratio of both image and pixel.

When setting up our video project (in this case we only focus on SD and HD projects) have to be clear about the Aspect Ratio final.
It will be our own software which we ask it to start the project.

WORKING IN 4:3

If we are working 4:3 and the material they have also shot in that format, there is little else to say. Set the timeline to that proportion. Depending on the software, we can find different classifications, but typically appears D1/DV named as PAL or NTSC D1/DV.

GRAPHICS FOR 4:3

In turn, we generate graphics digitally, must be 720 x 576 pixels in PAL or 720 x 480 pixels for NTSC, with appropriate PAR (see article)

MASTER IN 4:3

At the time of making the master copy will not find any complications, because both tape-record the project as to make a DVD, as proportions l coincide with the resolution.

WORKING IN 16:9

If we are working to 16:9, can be a bit more complex (remember we are talking about a project SD and HD)
, en concreto alrededor de 1,42 (de nuevo el dichoso Pixel Aspect Ratio). Timeline configured with the correct (usually D1/DV widescreen), which will again be a project of 720 × 576 pixels in PAL or NTSC 720 x 480, but with a more elongated PAR, namely about 1 , 42 (again the happy Pixel Aspect Ratio).

Material from camera, must be recorded, preferably in real 16:9.
That a true 16:9 camera recorded was not something very common years ago. , pero que coincidía con un Aspect Ratio de 16:9. It was common to find models (even professional) to record in 16:9 that they did was cover with two black bands at the bottom and top of the screen, thus losing all that resolution and recording information only in the central band the image, but it coincided with an Aspect Ratio of 16:9.

RECORDING IN 16:9

Currently the cameras that capture information recorded in 16:9 in the total frame. As mentioned, both PAL and NTSC formats have a standard size that is not at all scenic ... so how do you get get a 16:9 image into a table with 4:3 proportions? Well, as we have repeated ad nauseam, using the handy system Pixel Aspect Ratio. So an image recorded in widescreen format appears "close" if it is displayed with the correct PAR. This is similar to what is called the system "anamorphic" in cinema.
By introducing such images in our timeline set up correctly, automatically will be stretched horizontally and see properly.

GRAPHICS IN 16:9

When we create graphics for SD 16:9 project, we can do two things. y elegiremos aquí la opción widescreen. Esto es sólo posible en las últimas versiones de Photoshop. If you use Photoshop, create an image of 720 × 576 if you work in PAL and simply go to menu Image> Pixel Aspect Ratio and opt for the widescreen option. This is only possible in the latest versions of Photoshop.
What is then the program is changing the way the image is displayed, for stretching. When we designed and added to the project, will be successfully.

Another approach is to create an image that instead of 720 pixels wide, but has 1024 pixels with square pixels, which makes any program by default. Thus, our image, you have the correct proporiones without resorting to PAR. It is the most common, for example when making an image for a menu of a DVD authoring we want to be 16:9.

MASTER IN 16:9

. Once everything is perfectly pan in our line, it's time to make the master copy. Here again it should be careful with the software settings and alert always in the final render, it is a 16:9 image.
Thus, if we make a MPEG2 for a DVD, the player will recognize that this is a 16:9 and stretch the image automatically and, if you're seeing on a 4:3 TV, black bands will create the appropriate up and down.

In contrast, if we have to make a copy on tape we have to go a step further, as we run the risk of a tape recording in 4:3 deformed, rather than a 16:9 banding.

To avoid this, create a new project but this time 4:3, get into it and finished our 16:9 video and climb, only vertically, 30% (there are other systems, depending on the software we use, sometimes adapts automati
te).

In this way we obtain manually, which makes DVD players automatically. The image then we record on tape, for broadcast, or any other needed file, it will be fine with their black bands above and below. It LETTERBOX what is known.

If we follow these steps and we are awaiting the Aspect Ratio of your images and graphics can avoid many problems in publishing our projects.

Responding to a question I received via email, including this article on the different ways of working with video in 16:9.
In order not to extend too much, will I organize the article in two parts.

• Part I: 4:3 and 16:9. Origen. A little history on why these proportions.

• Part II: Working with 4:3 and 16:9. Practical examples of how to set up projects in these formats and inconveniences that may arise.

Image Aspect Ratio. 4:3 and 16:9. Origen.

, que también se refiere a la proporción entre alto y ancho pero a nivel de pixels y no de la imagen completa. The image formats are defined by their ratio of width and height, is what is called the ASPECT RATIO, that should not be confused with the pixel aspect ratio, which also refers to the ratio between height and width but at the level of pixels and not the whole picture.

To say that an image has a 4:3 aspect ratio means that if the width is divided into four equal parts, the high measured only three of those parties. Or what is the same 4 / 3 = 1.33, which is another way of referring to this ratio. The same is true 16:9 and other image vides

, es el formato de proporción de imagen que poco a poco está reemplazando al tradicional 4:3. 16:9, also known as widescreen format is the image ratio is gradually replacing the traditional 4:3. It is certain that most who read these lines you describe and at home with a TV of this size and those who work in video, each time you do it more in 16:9, until little by little the old 4:3 definitely relegated.

In keeping with the tone of this blog, which aims to investigate why the video issues that we use every day, let's delve a bit into the origins of these two image formats.

Since the beginning of cinema, and was defined as a standard 4:3 ratio for projecting moving images.
According to some, the calculation of this vides is given by the golden proportions that even in his day were discovered in ancient Greece. But according to others, the origin is more prosaic. It is said that Edison himself, working in his lab with his assistant, in necessities related to the first mills cinemas, was found in the need to cut a huge 70mm negative that had developed by that time, George Eastman, in parts small to use it better. In these circumstances, his assistant asked him what size should give the court and Edison responded with a historic gesture, scoring with his fingers the size you should take the part. Coincidentally, the ratio was 4:3

Since then the proportion was used in film and the proportion used to create the first TV broadcasts.
It was precisely these TV broadcasts the trigger for the emergence of widescreen formats, predecessors of our 16:9. When in the 50s became the TV host of American leisure and later the rest of the world, the cinema, which began to weaken in spectators, had to resort to new weapon to regain his place.
Since the advent of color, there had been great advances, so he researched how to make the image more dramatic. Widescreen formats emerged, larger more spectacular, with proportions 1.85, 2.35 (-Cinemascope anamorphic) formats like VistaVision, the Todd-AO ... in general an array of new formats for the attention of the audience fled.

But none of these successful formats still had the proportions 16:9.

So far, the curious origin of these proportions.

In the next part of the article will talk about the problems that we can find to work with them, because the 4:3 it still has some time living and 16:9 have to live with it and adapt to it, especially if is intended for broadcast. Hence there may be problems with its varying solutions (Pan-Scan, Letterboxing ...). This and more in the next chapter.

If you saw and the amazing video of "making" bloddy Omaha , recreation of D-day for the BBC who made Richard Hammond, with a bare-bones budget for props and extras, four days of filming and, yes, several weeks of post ... now, hand fxguide comes a similar story.
… sí, habeis leido bien, Edwars dirigió y también postprodujo, el solito en su casa durante 5 meses, los 250 planos que requerían FX en esta producción. This is the TV movie Attila the Hun, also produced by the BBC and directed by Gareth Edwards and post product ... yes, you read it right, and Edwards led postprodujo, by himself at home for five months, the 250 planes that required FX in this production. It's worth that you read the article fxguide and do not miss the video that comes with the "breakdown" of a scene.

. The planes, shot in HD 720p, were edited in After Effect. para los matte painting y Premiere para la edición. As tracker tool used Imagineer Systems Mocha, Photoshop for matte painting and Premiere for editing.

At this rate, soon we will post product's trilogy The Lord of the Rings with a laptop ...

In this article we will try to identify potential problems that can arise when editing and post product interlaced video material.

propiamente dichos. We say that the video signal (SD) runs at 25 frames per second, in case of PAL, or 29.97, if the NTSC system, but actually talk about frames in these cases is pure convention, since in the systems traditional video, there are no frames themselves.
Due to technical limitations of early TV sets, invented an ingenious way to capture the image, which saves bandwidth and it was very effective. Then the call was set captures interlaced lines, which is collected in a split second, only half of the information that forms the video image, and immediately capture the other half and interleave at a speed fast enough to that the human eye interpret it as a single image.

tomadas en 1/50 de segundo y entrelazadas entre sí. Therefore, unlike film, where there are 24 full frames per second, PAL video is 25 frames, each composed of 2 blocks of lines taken in 1 / 50 second and intertwined.
That is, an SD video frame is actually composed of two images separated by a minimum requirement period.

At present, where technical limitations are no longer what they were, the interlocking system no longer has much meaning and new video standards and we can speak of complete frames. The new HD systems capture images by the so-called progressive scan no longer need to split the image into blocks of even and odd lines and then link such, but image capture complete frames.

Today we can talk about cameras and video systems PAL and NTSC operating in progressive, but in reality what they actually do is to capture interlaced lines, but the moment captured in time, so they are identical and not freeze a frame appreciate the intertwined, although it remains there, it is inherent in these technologies. This also occurs in the HDV system.

To edit and post product, the progressive scan is undoubtedly a better option, since the interlaced can produce undesirable effects that affect the quality of the image to translate the digital pixel lines.
But until we work exclusively in the new progressive formats is certain to continue integrating long interlaced video material in our projects and meet many drawbacks.

Let's check some of the most common problems when working with interlaced images in a digital workspace.

Scan and view material INTERLACED

It is very important when working with interlaced video we have a proper monitor for viewing the material. Computer monitors working in progressive mode and the shots are properly linked. It must give our signal output via a video monitor CRT monitor or at least view it in a conventional TV.

If we have not monitored well interlaced throughout the process, we can find several problems in carrying out the master copy.

los campos o líneas cuando los reproduce. 1-Problems Dominance Dominance refers to the way the system we work with "commands" the fields or lines when playing. As mentioned, the interlaced frames are composed of two blocks of lines but ... what is the first line that played our system? What is the line that has captured the first camera? Even lines, odd lines ...?

Far from being standardized, dominance varies depending on video system and hardware being used. Besides the nomenclature to define dominance is not standardized and hear terms like: Odd / Even (Odd or Even) Lower / Upper (upper or lower); F1/F2 ...

The problem is that if our project is configured with a dominant than that of the captured material, perceive an unpleasant flickering effect when played back on a video monitor.
If this happens to us, we can reconfigure the project with the correct dominance or apply some filter to the video material to invest dominance. Almost any editing program should have a value of o similar para ejecutar esta tarea. "Shift fields", "reverse fields", or similar to execute this task.

We must also take into account the dominance of images when developing 3D and CGI as we must set the render correctly to match the dominance of our project.
This guide, extracted from fxguide , we can help determine the dominance of the material we are working. As you can see there is no dominance own PAL or NTSC system, the two dominancias are possible in both systems:

• PAL Video Frame size: 768 x 576/Frame aspect ratio: 4:3 / Pixel aspect ratio: 1/Frame rate: 25 fps / Field order: lower field first

• PAL-DV Frame size: 720 x 576 / Frame aspect ratio: 5:4 / Pixel aspect ratio: 1.067Frame rate: 25 fps / Field order: upper field first
• NTSC-DV Frame size: 720 x 480/Frame aspect ratio: 3:2 / Pixel aspect ratio: 0.9/Frame rate: 29.97 fps / Field order: lower first

• NTSC D-1 - Discreet edit * NTSC / Frame size: 720 x 486/Frame aspect ratio: 4:3 / Pixel aspect ratio: 0.9/Frame rate: 29.97 fpsField order: lower field first

• Frame size NTSC: 640 x 480/Frame aspect ratio: 4:3 / Pixel aspect ratio: / Frame rate: 29.97 fps / Field order: upper first

• NTSC Full Frame size: 648 x 486/Frame aspect ratio: 4:3 / Pixel aspect ratio: 1/Frame rate: 29.97 fps / Field order: upper first

• HDTV 720/30p Frame size: 1280 x 720/Frame aspect ratio: 16:9 / Pixel aspect ratio: 1/Frame rate: 30 fps / Field order: upper field first

• HDTV 1080/24p Frame size: 1920 x 1080/Frame aspect ratio: 16:9 / Pixel aspect ratio: 1/Frame rate: 30 fps / Field order: upper field first

RESOLUTION PROCESSING PROBLEMS

As explained in the article on the pixel aspect ratio , converting analog to digital technology
often brings with it many disadvantages. The case of entanglement is no less.

Once we convert the analog video lines in digital pixels, the image can be applied to any kind of transformation that allows us to filter or our software. The problem is that by distorting the effects of interlaced lines will get very pronounced jaggies, artifacts and images of very poor quality.
If we know we will post product an interlaced image, applying scaling and rotation effects should "deinterlace" first.
There are several ways to do this:

• Interpolating deinterlacing: thus we get the original resolution image, not fields, but with half the horizontal resolution and an effect of interpolated between the lines that does not improve the resolution but it solves the problems when applying transformations.
• Deinterlace field even and odd separately: get well, two images at half resolution. 2 apply to the same transformations and re-interlacing.

• Graphic flashes:

By creating graphics to compose with interlaced material we meet again with flashing effects, especially on images with fine details. For example if we create a grid based on lines of thickness of 1 or 2 pixels and see on a video monitor, horizontal lines tremble continuously. Also often the case with fonts. This is because the line is too thin and coincides with the scanning of one line, which comes in a field itself and not in another.
A little trick to solve this is to double our graph, apply a small Gaussian blur and put in a layer below the original figure, so we managed to COINDE with more than one line and so we will not stop her.

This article could be much broader because the archaic technology of interlacing gives a lot of headaches in digital editions.

Finally I recommend using After Effect filter that gives a good result in improving the effects of flashes, sawtooth artifacts and we will continue to appear, no doubt, despite applying the above advice.

This involves applying the filter to "reduce interlace flicker" - "reduce interlace flicker at a rate of between 1.3 and 1.6, the total of our project once completed. Careful, it should be left aside the text and graphics sharper and apply this filter as it becomes overly smoothed. However, that little smoothing applied to video material gives a nice effect, without breaking and without destroying pixels resolution, the effect being much more discreet interlaced.

• 2. Visualizamos el nuevo nodo Color Corrector arrastrandolo sobre el visor, o presionando sobre él con el botón derecho>View on> Left (o Right) . Ahora miramos los controles de este nodo a la derecha.
  Si estais familiarizados con alguna herramienta de retoque de color otros softwares, sabreis en qué consisten los parámetros que aquí se nos muestran.
  No vamos a entrar en detalles en ese sentido, simplemente vamos a retocar el nodo cielo para desaurarlo un poco. Lo hacemos variando un poco el valor LEVELS y la saturación general.

  A medida que variamos los valores, vemos como en el visor va cambiando la imagen. La dejamos en el punto que más nos guste.

IMPORTANTE: nos podemos valer de varios métodos para alternar la visualización entre la imagen retocada y la imagen “virgen”.

1. Seleccionando el Nodo Color Correction presionamos Ctrl+P (desactivar nodo) alternativamente de esta manera activamos y desactivamos el retoque para ver cómo está quedando.

2. En la botonera bajo el visor presionamos el botón A/B . Este botón divide el visor en 2, el Buffer A y el Buffer B. Podemos arrastrar el nodo que queramos a cada Buffer y mover el Slide central para ver la diferencia entre cada imagen.

• 3.Visualizamos el nodo merge 1. Vemos ahora el nodo avión sobre la imagen de las nubes retocadas. Vamos a hacer un retoque similar al avión que ahora está demasiado contrastado repecto a las nubes. Realizamos los mismos pasos que con el nodo nubes: añadir Color Corecctor y tocar parámetros de niveles y saturación hasta que nos quede tal como queramos, más parecido al cielo.

  It is important to select the right color choice airplane predivide / postmultiply the tab option. This avoids the halos around the image due to problems with alpha (I recommend that you read the article on this blog about premultiplied images.)

• 4.Vamos to improve the contour of plane that still has some halo despite having selected the option predivide / postmultiply. We do this by adding a new Node: BIN> Matte> Matte Control. This node add it just before the plane Node Color Corrector.

Matte Control is an essential node usareis often used to control the blurring masks and alpha channels, plus expandiéndlos, contracting or other more advanced features. Now we're just going to get a bit alpha channel of the plane touching the parameter Matte Contract / expand.

• 5.Vamos to improve the combination of the two images retouched and adding a third node Color Corrector at the end of the chain of our composition.

  This Color Corrector drag a window to the composition and output Merge1 connect to this node.
  We visualize and touch the taste parameters to achieve the effect you want.
  In this case we compared the composition a little more complete. We can see in the picture below, in which we see as a buffer and have the Merge1 Color Corrector another post, so we can compare the two results.

The following tutorial will encourage simple way to introduce the plane and the animation parameters in Fusion.

Here is the file of the composition. Only you have to insert the images provided in the previous tutorial, in the pre LOADER:

• tut03.comp

Estaremos muy atentos al sofware que está desarrollando el Centro Australiano de Tecnologías Visuales (Australian Center for Visual Technologies) . No hacen falta muchas explicaciones, sólo ver el vídeo e imaginarnos las múltiples aplicaciones que pueda tener…
De momento es sólo un proyecto aún sin distribución comercial.