#Nuke 10 vfx software#

Except now instead of it happening in a lab somewhere, it happens right behind the lens. That said, even though we donвЂ™t вЂњhaveвЂќ to scan film anymore (although many high-end productions still elect to shoot on film), the analog to digital process is still a major consideration for VFX workflows. The files that come off digital cameras usually have everything we need to work on proper VFX. Thankfully, we now enjoy the benefit of inexpensive, ultra-high-quality digital cameras. The better the scan, the better the canvas for VFX teams to work their magic. Lots of really smart people poured buckets of money and time into developing and optimizing the best methods for scanning film. The scanning process was ( and still is for film-based workflows) a key factor in preserving the highest visual quality from the camera negative. This conversion process from an analog, physical, chemically-processed medium to a digital video/image file requires complex processes to ensure all the captured dynamic range, color, and detail of a shot remains intact for VFX teams. In the old days (pre-digital acquisition), film negatives had to be scanned before any sort of VFX could be added to a scene. So thereвЂ™s something here for everyone interested in VFX workflows. Many of these recommendations are tailored to smaller teams handling 2D compositing-type effects, but most of the principles will apply to large 3D/CG as well.

#Nuke 10 vfx software#

WeвЂ™ll cover the basics of building your own VFX workflow from top to bottom, and help answer questions on everything from hardware and software choices, to setting up proper color management, folder structures, and file naming conventions for your project. In todayвЂ™s article, IвЂ™ll lay out several best practices for VFX workflows. Once we understand the fundamental components and how they fit together, itвЂ™s fairly easy to build new workflows that fit our particular creative needs and technical resources.

In all that time, IвЂ™ve learned firsthand the ins and outs of different types of VFX workflows, and truly appreciate how difficult it is to build one from the ground up.Д«ut IвЂ™ve also come to realize that VFX pipelines arenвЂ™t something to be scared of. IвЂ™ve also managed shots that had to be sent out to vendors all over the world, and wrangled pipelines of major commercials and features. As a Resolve colorist and Flame/Fusion VFX artist, IвЂ™ve done my fair share of VFX compositing, rotoscoping, keying, object removal, tracking, and basically any other VFX process you can think of.