Last fall, I began working with DigiEffects’ CineLook plug-in for AdobeAfter Effects. Simply enough, CineLook takes video and gives it a filmlook. The CineLook interface is intuitive, while its output is spectacular.Unfortunately, rendering any significant amount of footage was an overnightendeavor.
More than a few minutes of material, along with someCPU-intensive settings, and you could be measuring your render time with acalendar instead of a watch. Getting acceptable results early on thelearning curve could be a week-long affair.Most of our clients are documentary filmmakers producing for WGBH (BostonPBS), WNET (New York), and The Discovery Channel. Such clients often findthemselves with a couple of video shots they need to edit into a sequenceoriginally shot on film. The film stocks vary from archival 8mm and 16mm toSuper 16 and 35mm. The goal is to make the video shot fit seamlessly intothese sequences. Many have tried the proprietary systems offered by posthouses and have had mixed results. Those that have been pleased have spentup to $200 a shot.
Those that have tried less expensive routes (thetake-what-you-get-unsupervised-at-night-with-the-new-kid approach) havebeen disappointed often.CineLook promised to change that, but our small effects company was readyto pass on this revolution. We did not want to dedicate a top-of-the-lineMacintosh workstation to full-time CineLook rendering. The bottom linewould not justify it as we were already using our Macs for overnight3-D rendering.Soon after one of my Internet raves about CineLook’s output and a rant ortwo about its sloth speed rendering, the folks at ICE announced they wereselling an accelerated CineLook called “ICE’d CineLook.” They boasted aboutrendering speed improvements of up to eight times on some of the mostcommonly used presets.
I remembered ICE from the NAB floor earlier in 1997.ICE had been showing off ICEfx for After Effects, which was a niftymulti-processor board and software system that accelerated about a dozenAfter Effects’ filters by a factor of ten. I was impressed-until I saw the$8,000 price tag.
It also took two PCI slots.By the time fall 1997 rolled around, ICEfx for After Effects now sported aslimmer $4,995 price tag and a one-PCI slot configuration with more thanfour dozen standard filters. These included the most common After Effectsstandards like Tint, Blur, and Glow along with some cool effects unique toICE like Light Blast, Lens Star, and Video Look. Now the package lookedmore attractive. On the software side, ICE’d CineLook is $500 to registeredCineLook users. I was still on the fence, but this past spring they offereda free two-week tryout.
Digieffects Cinelook 2
Ship it back. My plan wasto use the board for an upcoming CineLook project for a very demandingdirector with over five minutes of material to be treated.
I knew I wouldneed the extra horsepower because he would never buy the first pass.I took the board home and installed it in about 10 minutes. It actuallytook longer to clear away the junk piled on top of the computer than it didto slide the board in and install the software. Immediately, I got to workand was blown away. ICE’d CineLook’s interface was exactly the same asstandard CineLook. All my custom-made CineLook presets were available to mein ICE’d CineLook.
Screen redrawing was so much faster, and the softwarewas so much more responsive that it took me about a tenth of the time itusually did to set up a shot. Aplikasi pengolah angka selain ms excel. Render times were four to nine times faster.The system was now so much faster. I was able to tweak longer andexperiment more, and my end product was remarkably better. (So much so thatthe director actually bought the first pass.) The footage was well-shotBeta SP of Nantucket beaches.I still had over a week left on my free trial. I figured I would try topick up another job before deciding whether or not to buy it. My attitudewas already shifting. When I had first picked up the board, I had beenconvinced that I would be returning it at the end of the trial.Word spread that CineLook really worked.
A producer for WGBH’s NOVA seriesgave me a call to CineLook some Beta SP footage of the making of Titanicshot by Digital Domain. Again, the results impressed everyone. Of courseLeonardo DiCaprio would still look good on fourth generation VHS. But thatgot me thinking. What if I tried to make something less-than-spectacularlook like film?
Torrent butler. In a few days the friendly ICE rep would come calling.Fortunately another NOVA documentary was being edited down the hall onspecial effects. It was using some footage shot on S-VHS in Antarctica. Itlooked OK, but it was not of the caliber of the other two projects. NowCineLook does not promise to make VHS look like 35mm. It specifically warnsthat it can not.
I figured I could try to make it look like a grainy 16mmstock, and, with the power of the ICEfx board and software behind me, Iwould have enough time to try several variations. The postproductionsupervisor was skeptical, so I had to offer to do it on spec. But I figuredit was worth it to see if the board could really expand my capabilities.The task was harder than I had thought it would be.
Some clips took half adozen tries. None looked like 35mm. But all the shots did look better andcut almost seamlessly into existing film sequences.Aside from the CineLook performance improvements, my standard After Effectsproduction work got a real boost from ICEfx for After Effects.
One clientwas blown away by the Light Blast effect added to what could have been avery typical flying logo. Another was stunned at what the ICE’d Film Damagemodule of ICE’d CineLook did to an image that was “projected” onto ananimated piece of film. The animation was more than 30 seconds long andunder a tight deadline. Without the ICE board, I would have had to settlefor a little noise and a little sepia tone on the “projected clip.”Since then, ICE has expanded the product line with a variety of other ICE’d2-D and 3-D tools including ICEfx for Avid Media Composer/Xpress, ICEfx forDiscreet effect. (formerly Illuminaire Composition), and a bunch of otheradd-on modules for third party products and some cool edge treatments ICEdeveloped itself.The company shipped a new generation hardware board called BlueICE that hasthree times the performance of the existing system upon which I did mywork. The beta version was more stable than many other vendors’ shippingproducts.
And, if you believe what you read in press releases, ICE is soonto deliver an ICE’d 3-D modeling and animation tool (ICE’d Cinema 4D XL),an ICE’d version of the motion tracker within Puffin Designs’ Commotionpaint and rotoscoping tool, ICE’d Boris Effects DVE package, and ICE’dFinal Effects Complete from MetaCreations. With each successive addition,the value of my investment increases.It ended up being a pretty straight forward business decision. Buying ICEfxfor After Effects has allowed me to take on work that my company hadneither the manpower nor the machines to do previously. It has served as aspeedier platform within a platform for accelerating all sorts of work I doon the desktop.Frank Capria, president of Kingpin Productions out of Northboro,Massachusetts, has been an editor and graphic designer/animatorspecializing in documentaries for the past 11 years in Boston. He can bereached at:.
Digieffects Damage V2.5Digieffects Damage V2.5 is most popular plugin of Digieffects and one of most popular plug-in for After Effects, Premiere Pro, Motion, and Final Cut Pro ever. Now you can generate a lot of effects, for example analog and digital film.
Working whith Digieffects Damage V2.5 is very easy and it isn't destroying your original footage. In many hollywood productions and TV series you can see how Digieffects Damage is working. You can get your own glitches, grain, and scan lines at your fingertips today with Digieffects Damage.How to use:1. Download Digieffects Damage.2. Install to Adobe catalog.3. Now you can use it.
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Or, you can uninstall Damage from your computer by using the Add/Remove Program feature in the Window's Control Panel. On the Start menu (for Windows 8, right-click the screen's bottom-left corner), click Control Panel, and then, under Programs, do one of the following:. Windows Vista/7/8: Click Uninstall a Program. Windows XP: Click Add or Remove Programs.
When you find the program Damage version 2.5, click it, and then do one of the following:. Windows Vista/7/8: Click Uninstall. Windows XP: Click the Remove or Change/Remove tab (to the right of the program). Follow the prompts. A progress bar shows you how long it will take to remove Damage.
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Creative Professionals May Now Purchase Class On Demand Training from DigieffectsSan Francisco, CA – August 21, 2007– Digieffectsa developer of popular software plug-ins for Adobe After Effects, Premiere Pro, Apple Final Cut Pro, and Autodesk Combustion is taking new steps to meet customer requests since the change of ownership in May 2007. For the first time, Digieffects is now offering its products as electronic software downloads in addition to the standard box-copy versions. This new convenient way to purchase allows users the flexibility to buy at any time during their tight production schedules. Digieffects has also drastically reduced the prices of many of its software plug-ins (see table below). All customers that purchased a Digieffects product directly from the company or from one of its resellers in the past 30 days qualify for price protection in the form of a credit toward future Digieffects purchases. Digieffects has also announced that they will shortly release a FREE compatibility update providing native Mac Intel Universal Binary support for Delirium, Aurorix, Berserk, Fantasm, and Euphoria.
This update will add full Adobe CS3 compatibility on the Mac (CS3 compatibility on Cinelook and all Windows products already exists). Updates will also be offered for Buena plug-ins after this release. Customers that place orders now automatically qualify for this FREE update. Creative professionals looking to get the most out of Adobe After Effects, Premiere Pro, Photoshop and Apple Final Cut Studio can now purchase Classroom on Demand‘s video-based training DVDs directly from Digieffects.“Since assuming management of Digieffects, we have reviewed all business practices and are taking measures to improve efficiency, better our products, and meet our customers‘ top requests. We are pleased to make these first strides as we remain dedicated to delivering engineering updates later this summer,” said Robert Sharp, president of Digieffects.Pricing and Availability(Old vs.