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FurnaceCore 4.1v1 for Final Cut Pro User Guide

1. are excellent candidates for animation To set a keyframe click on the Ins Del Keyframe button in the Nav column Thereafter you can set the parameter to a desired value for the keyframe Specifying more keyframes will allow greater flexibility in animating the parameter over time Kronos provides two ways of specifying the retiming The first is to set the speed of the output clip directly and the second is to specify the time mapping between input frames and output frames Note that both of these methods support animation so that you can specify the desired speed time mapping at particular points in the timeline By default the Timing method is set to Speed This allows The Foundry Tuning Parameters The Foundry Note KRONOS 37 Quick Start you to speed up or slow down an entire clip by a constant factor or by animating the parameter to specify the speed up slow down factor of the output clip for specified keyframes Setting the Timing method to Source Frame allows you specify the time mapping between the input and output clips To do this make sure Frame is keyframed Then select an output frame from the Timeline and set Frame to the input frame you want to appear at that output position Repeat this for at least one more output position to get a linear time curve For example if we wish to do a 4 times slow down move to frame 1 and set Frame to 1 then move to frame 19 and set Frame to 5 You can use all the no
2. 53325 ere id A S 57 Parameters oras AR er PM E E ee 60 Example eoe IEEE EEEEERUEU UE UU 62 Introduction es scs EE pr reme eee 65 QUiEK Start 4 scii RIA AA EA SS ES 66 Parameters 255 ars eroe S s ru A WE 70 Examples eel ee eae a Ml le c asus 72 Release Notes iilud bebo b ee e E bebe bes 73 End User License Agreement ooooooooooo o 81 AAA A ceni utn ott e ere a 91 The Foundry INTRODUCTION About this User Guide What s New Example Images The Foundry INTRODUCTION About this User Guide Welcome to this User Guide for FurnaceCore on Final Cut Pro FurnaceCore is a rich collection of image processing tools to help compositors tackle common problems when working on films It is the product of many years development It has been refined by drawing on feedback from the industry in general and also from our close working relationship with London post production houses This User Guide will tell you how to install license and use FurnaceCore plug ins Each plug in is described in detail in later chapters This guide assumes you are familiar with Final Cut Pro and the machine it is running on Have a look at the new features and improvements in Appendix A Example images are provided for use with most of the plug ins You can download these images from our web site http www thefoundry co uk and try FurnaceCore out on them From the FurnaceCore product page click on the Tutorials amp Example Images
3. the accessible frame range To be able to access the entire original clip you can make the clip longer by adding black placeholder frames to it and embedding them and the original clip in a sequence before using F Kronos Do the following 1 In the Browser go to the Effects tab 2 Double click on Video Generators 3 Select Slug and drag it to the timeline either before or after your footage depending on where you need the black placeholder frames 4 On the timeline resize the slug as necessary by dragging its edges to a new position The slug and the clip together should cover the frame range you want to use for the retimed sequence 5 Ensure that the concatenated clip and slug are flush with the left hand side of the timeline so that there is no gap between the start of the sequence and the first clip or slug frame 6 In the Browser go to the project tab 7 Right click on an empty spot and select New Sequence 8 Right click on the newly created sequence and select Open Timeline A new tab appears on the timeline FurnaceCore The Foundry Motion Blur without Retiming Frames and Fields The Foundry KRONOS 39 Quick Start 9 Drag the earlier sequence that contains the original footage and slug on the new timeline tab 10 Right click on this sequence on the timeline and select Open in Viewer 11 Apply F Kronos Note that F Kronos will be applied to the entire temporary sequence created in step 7 If you s
4. FurnaceCore 64 MOTIONBLUR Example to 20 to sample more frames and you should get a result as in Figure 46 Figure 46 Output image FurnaceCore The Foundry REGRAIN Introduction The Foundry REGRAN 65 Introduction FurnaceCore s ReGrain plug in is used to add grain to a sequence It has been designed to sample grain from one image and then to generate unlimited amounts of this grain with exactly the same statistics as the original This new grain can then be applied to another image Figure 47 Kodak 320 Figure 48 ReGrain Figure 47 shows an enlarged and exaggerated sample of grain from Kodak 320 film stock FurnaceCore s ReGrain was used to sample the original Kodak 320 stock and synthesize a plate of grain The result is shown in Figure 48 Note that the grain characteristics closely match the original Similarly Figure 49 on page 66 is a sample from Kodak 500 film stock and Figure 50 on page 66 shows this replicated FurnaceCore 66 REGRAIN Quick Start Quick Start FurnaceCore using FurnaceCore s ReGrain Figure 49 Kodak 500 Figure 50 ReGrain Import the clip to which you want to add grain and place it on the timeline Select Effects gt Video Filters gt FurnaceCore gt F ReGrain 4 1 There are a variety of presampled grain types to choose from Try the different grain types using the Stock Type pulldown menu If you don t want to use one of the presampled grain types you ca
5. High Gain parameters allow you to adjust the amount of grain added to the lowlights midtones and highlights of the image To test that the new grain is the same as the old grain you The Foundry REGRAIN 69 Quick Start can select Show Grain Plate Figure 52 Good selection area Figure 53 producing a good test plate of grain free of artifacts This generates a sheet of grain with the same luminance level as the mean of the sample region The sample region with the original grain is also displayed It should be impossible to differentiate between the two regions Figure 52 shows a good selection area giving a good test plate of grain in Figure 53 Figure 54 shows a poor selection area since it contains image detail Figure 55 shows the resulting test plate which clearly highlights the problem Figure 54 Bad selection area Figure 55 producing a poor result The Foundry FurnaceCore 70 REGRAIN Parameters Parameters FurnaceCore The parameters for this plug in are described below Grain drag a clip you want to sample grain from into the clip well here For this to work Stock Type needs to be set to Sample Grain Stock Type selects whether the grain is sampled from the grain image Sample Grain or from a set of standard stocks 2K 4K aperture corrected and non aperture corrected stocks are supplied Sample Grain samples and reconstructs the grain characteristics from the Grain i
6. Introduction FurnaceCore Dirt on the camera lens or in the telecine gate will not be classified as dirt as it appears in the same place on each frame Having detected the location of the dirt the algorithm produces a seamless repair by taking motion compensated pixels from the surrounding frames and interpolating them into the dirt region In order to see which regions have been repaired you can select Dirt under Output and render the result which shows the pixels detected as dirt The main control provided by the plug in is the set of Presets These control the trade off between falsely identifying dirt and failing to spot the dirt Often even if a region of image has been falsely detected as dirt it will be repaired perfectly as the dirt will not have corrupted the motion in the region allowing a high quality motion compensated repair In order to understand how to tune the parameters it is first necessary to understand a bit more about the algorithms involved F DirtRemoval relies heavily on motion estimation to both detect the dirt and repair the image Where the motion is complex e g multiple objects moving fast in multiple directions we are unable to correctly calculate the motion This means both the dirt detection and repair will fail In order to improve results in these regions we have a complex motion detector This detector is designed to flag regions where we are unlikely to calculate the correct motion In these
7. Successful activation gives you a license key that unlocks the software If you have a serial number for FurnaceCore you can activate the plug ins via the Internet or by telephone If you don t have a serial number for FurnaceCore you can activate the plug ins by telephone 1 Start Final Cut Pro 2 Apply a FurnaceCore plug in to an image sequence 3 In the plug in controls press the Help button and make a note of your System ID sometimes called host ID or Imhostid This number is unique to your machine and your license key will be locked to it 4 Press the Enter Serial Number button in the bottom left corner of the dialog 5 This launches a web browser Check that the System ID shown on the web page is correct If it is not or you wish to activate for a different computer follow the on screen instructions 6 Type your serial number into the box provided Make sure you type it in exactly as shown Click continue 7 If successful you will be taken to a page that lets you download your license file and the Foundry License Installer FLI Click download license 8 Double click on the downloaded file to extract the license key and the Foundry License Installer your computer may do this automatically The license will be in a plain text file called foundry lic The license will look a bit like this INCREMENT furnace fxplug i foundry 1 0 permanent uncounted HOSTID 0022411 0759 ISSUED 7 ju1 2009 SIGN 0118 0259
8. WARRANTY OF TITLE NON INFRINGEMENT MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE REGARDLESS OF WHETHER The Foundry KNOWS OR HAS REASON TO KNOW OF LICENSEE S PARTICULAR NEEDS The Foundry does not warrant that the Software or Documentation will meet Licensee s requirements or that Licensee s use of the Software will be uninterrupted or error free No employee or agent of The Foundry is authorized to modify this limited warranty nor to make additional warranties No action for any breach of the above limited warranty may be commenced more than one 1 year after Licensee s initial receipt of the Software To the extent any implied warranties may not be disclaimed under FurnaceCore The Foundry APPENDIX B 85 End User License Agreement applicable law then ANY IMPLIED WARRANTIES ARE LIMITED IN DURATION TO NINETY 80 DAYS AFTER DELIVERY OF THE SOFTWARE TO LICENSEE Section 8 Limited Remedy The exclusive remedy available to the Licensee in the event of a breach of the foregoing limited warranty TO THE EXCLUSION OF ALL OTHER REMEDIES is for Licensee to destroy all copies of the Software send The Foundry a written certification of such destruction and upon The Foundry s receipt of such certification The Foundry will make a replacement copy of the Software available to Licensee Section 9 Indemnification Licensee agrees to indemnify hold harmless and defend The Foundry and The Foundry s affiliates officers directors sharehold
9. an inbetween interpolation of the same two frame frames Kronos contains a number of controls to allow you to trade off render time verses accuracy of vectors The time controls can be used to generate arbitrary shaped speed curves Import the sequence you wish to retime and place it on the timeline Select Effects gt Video Filters gt FurnaceCore gt F_Kronos 4 1 By default the speed control will be set to perform a half speed slow down Note that the process of FurnaceCore 36 KRONOS Quick Start A Note on Keyframes Time Curves FurnaceCore retiming inherently results in a slight softening in the retimed frames If you were to combine retimed and original frames in a video sequence a slight pulsing effect between the soft retimed and sharp original frames would be evident To avoid this Kronos never uses original frames in its output unless you have set the Method to Frame see the description on page 42 So when doing a half speed slowdown for a frame at position 1 Kronos does not simply create an additional retimed frame at position 140 5 Rather creates two new frames one at position 1 0 25 and one at position 140 25 and discards the original frame at position 1 To fully explore the rich retiming and motion effects Kronos provides it is useful to know something about keyframes and the animation of parameters in Final Cut Pro In particular the parameters for the two Timing methods Speed and Frame
10. clip is used to calculate the colour transformation Specified Frame the colour transformation is calculated using a single frame from the source clip You can specify this frame using the Source Frame parameter below Current Frame the colour transformation is calculated so that it updates according to the frames in the source clip Source Frame sets the source clip frame that is used to calculate the colour transformation Target Colour From sets how the target clip is used to calculate the colour transformation Specified Frame the colour transformation is calculated using a single frame from the target clip You can specify this frame using the Target Frame parameter below Current Frame the colour transformation is calculated so that it updates according to the frames in the target clip Target Frame sets the target clip frame that is used to calculate the colour transformation FurnaceCore 54 MATCHGRADE Example Example Mike In this example we will use F MatchGrade to match the look of two images MikeWalking and MikeLightWand The images used here can be downloaded from our website For more information please see Example Images on page 5 Step by Step 1 Import MikeWalking tif and MikeLightWand tif and place them on the timeline Our goal is to make the image with the light stick lighter and more like the other They are shown in Figure 34 and Figure 35 Figure 34 Source image
11. deflicker pass using motion compensated frames This can improve results in areas where there is fast motion where the initial deflicker pass can introduce blurring Vector Detail determines the accuracy of the motion vectors used when Use Motion is turned on The maximum value of 1 will generate one vector per pixel This will produce the most accurate vectors but will take longer to render Window Size the size of the temporal window to use to remove flicker The Foundry Example The Foundry DEFLICKER 19 Example In this example we ll look at removing flicker from a clip using F DeFlicker The clip used here can be downloaded from our web site For more information please see Example Images on page 5 Step by Step 1 Import ToDeflicker mov into Final Cut Pro and place it on the timeline Render the sequence loaded in the previous step Notice the flickering fluorescent light in the window which we re going to try to remove Select Effects gt Video Filters gt FurnaceCore gt F DeFlicker 4 1 Render the output Compare the original and deflickered sequences by viewing them one after the other Notice that the flickering from the light in the window has been substantially reduced FurnaceCore 20 DEFLICKER Example FurnaceCore The Foundry DENOISE Introduction Quick Start The Foundry DENOISE Introduction This chapter looks at removing noise or grain from an i
12. frames before deflickering them can help However this process is complicated by the fact that the presence of flicker can adversely affect the results of the motion estimation F DeFlicker therefore adopts a two stage approach to this problem First the normal deflickering process is performed The motion vectors for the sequence are calculated on the resulting deflickered frames then applied to the original frames in order to align them The deflicker calculation is then performed on the aligned frames to give the final result To use this approach turn on Use Motion in F DeFlicker Note that F DeFlicker can be a computationally expensive plug in that requires input frames from outside the current FurnaceCore 18 DEFLICKER Quick Start Quick Start Parameters FurnaceCore time as such using more than two instances of F DeFlicker in an effect stack will dramatically increase render times It is strongly advised therefore that you render each instance out separately Import a sequence to deflicker and place it on the timeline Choose Effects gt Video Filters gt FurnaceCore gt F DeFlicker 4 1 Render The parameters for this plug in are described below Scale Down use this to scale down the image for deflickering This can speed up the calculation Clamp Flicker use this to reduce flicker without removing it entirely smaller values mean more will be left behind Use Motion turn this on to do a second
13. grain in the lowlights Mid Gain adjusts the gain of the grain in the midtones High Gain adjusts the gain of the grain in the highlights View Grain Clip check this to view the clip in the image well of the Grain parameter Analysis Center change the position of the centre of the sample region Click the button to move the selection area into a new position on the Canvas or enter new coordinates for the centre point in the coordinates fields Sample Size change the size of the sample area Analysis Frame the frame to sample the grain from FurnaceCore 72 REGRAIN Example Example Rachael FurnaceCore The image used in the following example can be downloaded from our website For more information please see Example Images on page 5 In this example we will degrain the image using F DeNoise and then using F ReGrain sample the grain from the original image and reapply it to the degrained image Switching between the resulting outputs of F DeNoise and F ReGrain will show different grain but with the same characteristics Import Rachael tif and place it on the timeline Select Effects gt Video Filters gt FurnaceCore gt F DeNoise 4 1 Set Analysis Method to Sample Region and position the sample region over a plain area Now load F ReGrain using the processed output of F DeNoise as the clip to add grain to and the original unprocessed image as the Grain sample clip Make sure you have
14. link FurnaceCore 5 INTRODUCTION Notation Notation Installing FurnaceCore Uninstalling FurnaceCore FurnaceCore In this User Guide we will refer to machines running FurnaceCore and Final Cut Pro as c ients and machines that are running the Foundry FLEXIm Tools software as servers FurnaceCore is available as a download from our web site http www thefoundry co uk The downloads are in dmg format FurnaceCore should be installed on the c ent machines To install FurnaceCore on a Mac OS X machine running Final Cut Pro follow these instructions 1 Download the file from our web site www thefoundry co uk 2 Double click on the downloaded dmg file FurnaceCore 4 1v1 FCP mac universal release 32 dmg 3 Double click on the pkg file that is created FurnaceCore 4 1v1 FCP mac universal release 32 pkg 4 Follow the on screen instructions to install FurnaceCore directly into the Library Plug ins FxPlug directory 5 Proceed to Activating FurnaceCore on page 7 The following directories are copied during the default installation process to the following paths Removing these directories will uninstall FurnaceCore Library Plug ins FxPlug FurnaceCore 4 1 FCP Applications TheFoundry FurnaceCore 4 1 FCP The Foundry Activating FurnaceCore Activation via Internet The Foundry INTRODUCTION Activating FurnaceCore Once you have installed FurnaceCore you will need to acti vate the product
15. of this Section 2 the term Software shall include any derivatives of the Software Licensee shall install and use only a single copy of the Software on one computer unless the Software is installed in a floating license environment in which case Licensee may install the Software on more than one computer provided however Licensee shall not at any one time use more copies of the Software than the total number of valid Software licenses purchased by Licensee Furthermore the Software can be licensed on an interactive or non interactive basis Licensee shall be authorized to use a non interactive version of the Software for rendering purposes only i e on a CPU without a user in a non interactive capacity and shall not use such Software on workstations or otherwise in a user interactive capacity Licensee shall be authorized to use an interactive version of the Software for both interactive and non interactive rendering purposes if available Finally if the Software is an Educational Version Licensee may use it only for the purpose of training and instruction and for no other purpose Educational Versions of the Software FurnaceCore The Foundry APPENDIX B 83 End User License Agreement may not be used for commercial professional or for profit purposes Section 3 Back Up Copy Notwithstanding Section 2 Licensee may store one copy of the Software and Documentation off line and off site in a secured location owned
16. set Stock Type to Sample Grain Compare the original to the regrained output of F ReGrain Note that although the actual grain differs on both images the grain characteristics are the same The Foundry APPENDIX A Release Notes FurnaceCore 4 1v1 The Foundry APPENDIX A 73 Release Notes This section describes the requirements new features improvements fixed bugs and known bugs and workarounds for each release of FurnaceCore Release Date October 2009 Requirements 1 Final Cut Pro 6 0 4 or above on Mac OS X 2 Foundry FLEXIm Tools FFT 5 0v1 or later for floating licenses New Features The plug ins help dialogs now have an Enter Serial Number button at the bottom of the dialog This button launches a web browser to get a license key for the plug ins For more information see Activating FurnaceCore on page 7 e F DeNoise and F Kronos now have a Deinterlacing Method parameter at the end of their controls This parameter is useful when applying the plug ins to fielded footage in order to produce progressive footage It is also needed when using progressive footage with these two plug ins For more information see F DeNoise Parameters on page 22 F Kronos Parameters on page 42 and Using Progressive Footage with F Kronos and F DeNoise on page 14 FurnaceCore 74 APPENDIX A Release Notes FurnaceCore Improvements Furnace has been rebranded to FurnaceCore FurnaceCore will now re
17. they are floating point sliders This does not affect the result of the effect For example the effect of changing an integer slider from 1 to 1 1 will still apply the effect with a parameter value of 1 Unfortunately changing the slider to 1 1 will result in the effect to be reprocessed thereby wasting time even though there was no real change Furnace 4 0v2 This is a maintenance release of Furnace for Final Cut Pro The Foundry FurnaceCore 78 APPENDIX A Release Notes FurnaceCore Release Date November 2008 Requirements 1 Final Cut Pro 6 0 4 or above on Mac OS X 2 Foundry FLEXIm Tools FFT 4 0v1 or later for floating licenses New Features There are no new features in this release Improvements There are no improvements in this release Bug Fixes Fixed instability in plug ins caused by OS incompatibility with FLEXIm 10 8 licensing module Upgraded FLEXIm to 10 8 6 for improved Leopard compatibility Known Bugs and Workarounds There are no known bugs The Foundry APPENDIX A 79 Release Notes Furnace 4 0v1 This is the first release of Furnace for Final Cut Pro Release Date September 2008 Requirements 1 Final Cut Pro 6 0 on Mac OS X 2 Foundry FLEXIm Tools FFT 4 0v1 or later for floating licenses New Features There are seven plug ins in this release Improvements This section will describe improvements to existing features in later versions Bug Fixes This section will describ
18. 3106 FurnaceCore 7 INTRODUCTION Installing a License Activation by Phone Installing a License FurnaceCore D626 F32A 54BC EA70 EFC6 AC23 0575 BDO1 67F6 OD9B 9176 36A7 128A C706 C495 CO17 34B8 8125 Once you have downloaded the license file proceed to Install ing a License on page 8 Call our London office on 020 7434 0449 country code 44 or phone our Los Angeles office on 310 399 4555 You will need your System ID System ID Imhostid on page 9 an e mail address for us to send the license key and if you have one a serial number Once you have received your license file you need to install the license The Foundry License Installer FLI application helps you with this You may have received this application in an e mail or downloaded it from http www thefoundry co uk licensing To install a license 1 Open the directory where you have saved the license file and the Foundry License Installer 2 Double click on the Foundry License Installer application 3 In the window that opens click Install This checks the license file and installs it into the correct direc tory You re good to go Start Final Cut Pro and check whether your plug ins are licensed If they are not check that you have a foundry lic license file in the correct directory See Where Does the License File Go on page 9 The Foundry System ID Imhostid Where Does the License File Go Alternative Licens
19. Figure 35 Target image 2 Select the light stick image and choose Effects gt Video Filters gt FurnaceCore gt F_MatchGrade 4 1 FurnaceCore The Foundry MATCHGRADE 55 Example 3 Drag the walking image into the clip well of the Target parameter You should get the result in Figure 36 Figure 36 Output image 4 The result is slightly garish so decrease the Iterations parameter to 3 the result of which is shown in Figure 37 Figure 37 Output image The Foundry FurnaceCore 56 MATCHGRADE Example FurnaceCore The Foundry MOTIONBLUR Introduction Quick Start The Foundry MOTIONBLUR Introduction This chapter looks at adding motion blur using FurnaceCore s plug in F MotionBlur For hints tips tricks and feedback please visit http support thefoundry co uk F MotionBlur uses the Foundry s advanced motion estimation technology to add realistic motion blur to a sequence F MotionBlur uses the same techniques and technology as the motion blur found in F Kronos but presents the controls in a less complex more user friendly way However if you need precise control over the motion vectors used for adding blur or a large temporal range i e a very high shutter time you should use F Kronos Import a clip and place it on the timeline Select Effects gt Video Filters gt FurnaceCore gt F MotionBlur 4 1 Select a suitable Shutter Time depending on the amount of blur you wish to add Pro
20. OTIONBLUR 59 Quick Start field is recorded after the first field For example let s imagine a clip that shows a ball moving from left to right across the screen Figure 39 shows what two frames from this clip might look like and how these frames could be represented as two fields As you can see the ball moves slightly to the right between fields and the fields appear squashed because they only contain half of the image information You should also notice that because the fields are recorded and displayed immediately after each other and two fields make up one frame the ball does not move as far between two fields as it does between two frames Figure 39 Two frames on the left divided into fields on the right MotionBlur is able to retime between frames and between The Foundry FurnaceCore 60 MOTIONBLUR Parameters Parameters FurnaceCore fields This is illustrated in Figure 40 Figure 40 Retiming between frames and between fields By default the retime operation is applied to frames Because any moving objects will be further apart between frames than between fields this can produce a slightly riskier retime To get better results for the retime you can perform the retime on fields instead of frames This way the moving objects will be closer to each other which improves the results of the motion estimation However because the retime is done between fields and the scan lines that produce the image a
21. The Foundry s express written approval The Foundry FurnaceCore 84 APPENDIX B End User License Agreement Section 5 License Fee Licensee understands that the benefits granted to Licensee hereunder are contingent upon Licensee s payment in full of the license fee payable in connection herewith the License Fee Section 6 Taxes and Duties Licensee agrees to pay and indemnify The Foundry from claims for any local state or national tax exclusive of taxes based on net income duty tariff or other impost related to or arising from the transaction contemplated by this Agreement Section 7 Limited Warranty The Foundry warrants that for a period of ninety 90 days after delivery of the Software a the machine readable electronic files constituting the Software and Documentation shall be free from errors that may arise from the electronic file transfer from The Foundry and or its authorized reseller to Licensee and b to the best of The Foundry s knowledge Licensee s use of the Software in accordance with the Documentation will not in and of itself infringe any third party s copyright patent or other intellectual property rights Except as warranted the Software and Documentation is being provided as is THE FOREGOING LIMITED WARRANTY IS IN LIEU OF ALL OTHER WARRANTIES OR CONDITIONS EXPRESS OR IMPLIED AND The Foundry DISCLAIMS ANY AND ALL IMPLIED WARRANTIES OR CONDITIONS INCLUDING WITHOUT LIMITATION ANY IMPLIED
22. USER GUIDE FurnaceCore on Final Cut Pro FURNACECORE BY THE FOUNDRY Visual Effects Software The Foundry 92009 The Foundry Visionmongers Ltd All rights reserved FurnaceCore User Guide This manual as well as the software described in it is furnished under license and may only be used or copied in accordance with the terms of such license This manual is provided for informational use only and is subject to change without notice The Foundry assumes no responsibility or liability for any errors of inaccuracies that may appear in this book No part of this manual may be reproduced stored in a retrieval system or transmitted in any form without the prior written permission of The Foundry The Foundry logo is a trademark of The Foundry Visionmongers Ltd FurnaceCore is a registered trademark of The Foundry Visionmongers Ltd All other products or brands are trademarks or registered trademarks of their respective companies or organisations Images illustrating video interlacing courtesy of Ron Brinkmann http www digitalcompositing com Software engineering Ben Kent Andy Whitmore Ralph McEntagart and Robert Fanner Product testing Jack Binks and Dan Allum Writing and layout design Eija Narvanen using Adobe FrameMaker Proof reading Eija Narvanen Contents Introduction DeFlicker DeNoise DirtRemoval The Foundry About this User Guide 2 2 ce eee eee 5 Whats New orco thee be i EE 5 Ex
23. al frame of the input clip to the first frame of the output clip and then map the first frame of the input clip to the final frame of the output clip Speed this parameter is only active if Timing is set to Speed Values below 1 slow down the clip Values above 1 speed up movement For example to slow down the clip by a factor of two half speed set this value to 0 5 Quarter speed would be 0 25 Frame this parameter is active only if Timing is set to Source Frame Use this to specify the source frame at the current frame in the timeline For example to slow down a 25 frame clip by half first pad it by appending a 25 frame slug see Using Placeholder Frames in Slow Downs on page 38 Then set frame 1 as a keyframe by clicking on the Ins Del Keyframe button in the Nav column and set the Frame parameter to 1 Thereafter set frame 50 the last frame in the slug as the second keyframe and set the Frame parameter to 25 Thus frame 1 will stay put and frame 25 of the input clip will be mapped to frame 50 of the output clip to create a half speed retime Arbitrarily complex retimings can be made by further animation of the Frame parameter Vector Detail Adjust this to vary the resolution of the FurnaceCore 44 KRONOS Parameters FurnaceCore vector field The larger vector detail is the greater the processing time but the more detailed the vectors should be A value of 1 0 will generate a vector at each pixel A v
24. alue of 0 5 will generate a vector at every other pixel For some sequences a high vector detail near 1 0 generates too much unwanted local motion detail a low value is often more appropriate Smoothness Vector fields usually have two important qualities they should accurately match similar pixels in one image to another and they should be smooth rather than noisy Often it is necessary to trade one of these qualities off against the other A high smoothness will miss lots of local detail but is less likely to provide you with the odd spurious vector A low smoothness will concentrate on detail matching even if the resulting field is jagged The default value of 0 5 should work well for most sequences Warp Mode sets how to control the new timing of the clip Simple this is the quickest option but may produce less than optimal results around moving objects and image edges Normal this is the standard option with more optimal treatment of moving objects and image edges Occlusions this is an advanced option that attempts to reduce the level of background dragging between foreground and background objects Shutter Time sets the equivalent shutter time of the re timed sequence A shutter time of 1 is equivalent to averaging over plus and minus half an input frame which is equivalent to a shutter angle of 360 degrees A shutter time of 0 5 is equivalent to a shutter angle of 180 degrees Imagine a grey rectangle mo
25. ample Images ers sorna oe E is Gs 5 Notation eec a Ree a 6 Installing FurnaceCore oooooooooooooo o 6 Uninstalling FurnaceCore o oooooooooo o 6 Activating FurnaceCore ooooooooooo ooo 7 Installing a LiCense o oooooooooo ee eee 8 System ID Imhostid o ooooo o oo o 9 Where Does the License File Go 9 License Problems o oooooooooo ooo oooo 10 Further Reading sss RR En 10 About FurnaceCore Plug i0S oo 10 Customer Support 0 ccc cece ee ee ee eee 15 Other Foundry ProductS o ooooooooo 15 Introduction sa RR RISE 17 QuickStart site sees la 18 Parameters 1 21252 sd 18 Example Re Boa e ee eu 19 Irnitrod ction ruri A OR 21 Quick Start i T3 b UU Le Menu 21 Parameters oer A RESTE EET 22 Example o EE REED E DE TES 25 Introduction A EE AES eR n gm 29 FurnaceCore Kronos MatchGrade MotionBlur ReGrain Appendix A Appendix B Index FurnaceCore Q ick Start S oreo eee at Ae O eee es 31 Parameters jes re AA edt een 31 Examples 3 223354 ns i RR uU ee E TM 32 Introduction us oor RED EFE ere eee 35 QuickStart os oot LI LL LS eti 35 Parameters oves ss EE et De eu e uec 42 Examples LL AA TS 48 INTFOUCLION iii A E Y 51 Quick tail A sd ts 52 Parameters son sts e EP DES 52 Example ere EPEPEPE ds T UE OS UL 54 Introduction rer erre 57 O ickSta rE
26. amples 6 When you re happy set Method to Motion With Vector Detail set to 0 2 you may see part of the road under the taxi being dragged by the taxi To improve this increase this value to 1 FurnaceCore The Foundry MATCHGRADE Introduction The Foundry MATCHGRADE 51 Introduction This chapter looks at automatic colour matching using FurnaceCore s plug in F MatchGrade For hints tips tricks and feedback please visit http support thefoundry co uk It is often necessary to match the colours of one clip with those of another When filming outside at different times of the day you will inevitably get colour and luminance differences that will have to be corrected if the sequences are to be composited or edited together You can of course use colour correction tools and trial and error to try and match the clips But this tends to be time consuming and requires some considerable skill F MatchGrade does it all for you by automatically modifying the colour histogram of an image to match a target image The target image contains the target colours Essentially you re going to change the source image so that it looks more like the target image Figure 31 Source image Figure 32 Target image FurnaceCore 52 MATCHGRADE Quick Start Quick Start Parameters FurnaceCore Figure 33 Output image Import the clips you want to use as the source and target clips and place them on the timeline The source c
27. at produce the image are slightly apart vertically the results are vertically shifted by one pixel This can introduce vertical jitter in the retimed clip You can choose whether to retime between frames or fields using the Retime Fields parameter The parameters for this plug in are described below Method sets the interpolation algorithm Frame the nearest original frame is displayed Blend a mix between two frames is used for the in between frame This is quick to render and useful when tweaking the timing on the curve before setting the method to motion Motion vector interpolation is used to calculate the in between frame Timing sets how to control the new timing of the clip Speed select this if you wish to increase or decrease the clip duration by a constant factor that is double speed will halve the duration of the clip or half speed will double the duration of the clip The Foundry The Foundry KRONOS 43 Parameters Source Frame select this if you wish to retime your footage by specifying a time mapping between input and output frames This method is also useful if you wish to describe the retiming in terms of at frame 100 in the output clip want to see frame 50 of the source clip You ll need to set at least 2 keyframes for this to retime the clip Note that by specifying time mappings you can repeat or even reverse your footage For example to reverse footage you map the fin
28. cess the sequence to see the motion blurred result Increasing Shutter Samples will result in more in between images being used to generate the motion blur and a smoother blur If you can see that the motion blur has been created from a few discreet images try increasing Shutter Samples If your sequence is composed of a foreground object moving over a background the motion estimation is likely to get confused at the edge between the two FurnaceCore 57 58 MOTIONBLUR Quick Start Frames and Fields FurnaceCore For various historical reasons video frames are usually divided into two fields Each field contains only half of the image information drawn as horizontal scan lines The first field of a frame contains every other scan line These scan lines are displayed first from top to bottom Immediately after the remaining scan lines are displayed similarly from top to bottom They make up the second field of the frame When both fields are displayed in rapid sequence they appear to produce a normal complete frame This technique of dividing frames into fields and then displaying them immediately after each other is called nter ac ng It is illustrated in Figure 38 Figure 38 Video frames consist of two interlaced fields When a moving object is captured using an interlaced video format the object appears in a slightly different place in each field of the same frame This is because the second The Foundry M
29. e Directories Watermark The Foundry INTRODUCTION System ID Imhostid The System ID sometimes called host ID or Imhostid is a unique number that identifies your computer We use this number to generate a license key for that and only that computer The System ID is shown at the bottom of the help dialog Apply any one of the FurnaceCore plug ins and click on the Help button in its controls to display this number The license file should be called foundry lic and saved in the following directory as a plain text file Library Application Support TheFoundry FLEXIm foundry lic There are also other places where you can place the license file See Alternative License Directories on page 9 If you like you can also put the license file in an arbitrary directory and point to it with the environment variable FOUNDRY LICENSE FILE This can be useful for large post houses that have centrally managed license servers but will not be necessary for most customers See Further Reading on page 10 If you don t have a valid license key a warning will be displayed and the finished render will have coloured dots scattered over it FurnaceCore 9 10 INTRODUCTION License Problems License Problems Error Log Files Further Reading About FurnaceCore Plug ins FurnaceCore If you cant get your licenses to work you can download the Foundry License Diagnostics FLD utility from http www thefoundry co uk l
30. e and the Documentation is limited to those rights expressly set out in this Agreement The Foundry FurnaceCore 82 APPENDIX B End User License Agreement Section 2 Restrictions on Use Licensee is authorized to use the Software in machine readable object code form only and Licensee shall not a assign sublicense transfer pledge lease rent share or export the Software the Documentation or Licensee s rights hereunder b alter or circumvent the copy protection mechanisms in the Software or reverse engineer decompile disassemble or otherwise attempt to discover the source code of the Software c modify adapt translate or create derivative works based on the Software or Documentation d use or allow the use of the Software or Documentation on any project other than a project produced by Licensee an Authorized Project e allow or permit anyone other than Licensee and Licensee s authorized employees to the extent they are working on an Authorized Project to use or have access to the Software or Documentation f copy or install the Software or Documentation other than as expressly provided for herein or g take any action or fail to take action that could adversely affect the trademarks service marks patents trade secrets copyrights or other intellectual property rights of The Foundry or any third party with intellectual property rights in the Software each a Third Party Licensor Furthermore for purposes
31. e fixed bugs in later versions Known Bugs and Workarounds There are no known bugs The Foundry FurnaceCore 80 APPENDIX A Release Notes FurnaceCore The Foundry APPENDIX B 81 End User License Agreement APPENDIX B End User License Agreement IMPORTANT BY INSTALLING THIS SOFTWARE YOU ACKNOWLEDGE THAT YOU HAVE READ THIS AGREEMENT UNDERSTAND IT AND AGREE TO BE BOUND BY ITS TERMS AND CONDITIONS IF YOU DO NOT AGREE TO THE TERMS OF THIS AGREEMENT DO NOT INSTALL COPY OR USE THE SOFTWARE This END USER SOFTWARE LICENSE AGREEMENT this Agreement is made by and between The Foundry Visionmongers Ltd a company registered in England and Wales The Foundry and you as either an individual or a single entity Licensee In consideration of the mutual covenants contained herein and for other good and valuable consideration the receipt and sufficiency of which is acknowledged by each party hereto the parties agree as follows Section 1 Grant of License Subject to the limitations of Section 2 The Foundry hereby grants to Licensee a limited non transferable and non exclusive license to install and use a machine readable object code version of this software program the Software and the accompanying user quide and other documentation collectively the Documentation solely for Licensee s own internal business purposes collectively the License provided however Licensee s right to install and use the Softwar
32. e has a message for the user When this happens you should click the button to see the message FurnaceCore brings high end film industry plug ins to Final Cut Pro Generally they solve more complex problems and so require significantly more processing power and memory than run of the mill Final Cut Pro plug ins Broadly speaking simple plug ins often only need to take a single pixel or perhaps a few of its neighbours into account FurnaceCore plug ins on the other hand solve problems which require information to be gathered from neighbouring pixels in the current frame as well as pixels from neighbouring frames many more pixels need to be looked at in order to compute a single output pixel FurnaceCore plug ins were originally developed for use in high end compositing applications such as Nuke and Shake These products all have a ways of caching intermediate rendering results which gives tremendous time savings Final Cut Pro on the other hand does not yet have sophisticated caching So whenever it computes an output frame it does quite a bit from scratch without exploiting previously rendered items which if you re not wary can lead to very long rendering times This brings us to the following important rule of thumb Avoid applying several FurnaceCore plug ins to the same clip at once Rather try to apply and render them out one at a FurnaceCore 12 INTRODUCTION About FurnaceCore Plug ins Field Dominance S
33. eb site 15 www thefoundry co uk 15 FurnaceCore 91
34. ee unexpected blank frames in the rendered sequence you may have omitted step 5 You can add motion blur without retiming To do this set the Speed to 1 Then set Shutter Time the output shutter time to be a value greater than 1 Figure 20 on page 45 Increase Shutter Samples until you don t see multiple images say 10 This will add motion blur along the direction of motion without retiming Figure 23 on page 45 Alternatively you can use the simpler F MotionBlur plug in described on page 57 For various historical reasons video frames are usually divided into two fields Each field contains only half of the image information drawn as horizontal scan lines The first field of a frame contains every other scan line These scan lines are displayed first from top to bottom Immediately after the remaining scan lines are displayed similarly from top to bottom They make up the second field of the frame When both fields are displayed in rapid sequence they appear to produce a normal complete frame This technique of dividing frames into fields and then displaying them FurnaceCore 40 KRONOS Quick Start FurnaceCore immediately after each other is called nter ac ng It is illustrated in Figure 17 Figure 17 Video frames consist of two interlaced fields When a moving object is captured using an interlaced video format the object appears in a slightly different place in each field of the same frame This is because t
35. enoise For more information see Using Progressive Footage with F Kronos and F DeNoise on page 14 FurnaceCore None do not deinterlace the image This option retains both fields as they are and places them in the progressive image Duplicate the missing line is simply copied from the previous line This is very quick but of lower quality than the interpolation methods See Figure 3 Interpolate linear interpolation from the previous and next lines See Figure 4 Wide Interpolate weighted interpolation using a wider range of lines than just the previous and next This gives very subtle differences to the Interpolate method See Figure 5 Slope Adaptive complex interpolation of the missing lines This method gives a particularly good result on slopes It produces the same result on vertical lines as Interpolate and a slightly better result on horizontal lines See Figure 6 Figure 1 Source Image Figure 2 Close up of fields The Foundry DENOISE 25 Example Figure 3 Duplicate Figure 4 Interpolate Figure 5 Wide Interpolate Figure 6 Slope Adaptive Example The footage used in the following example can be downloaded from our web site For more information please see Example Images on page 5 Mike In this example we ll use F DeNoise to remove noise from a sequence The Foundry FurnaceCore 26 DENOISE Example Step by Step 1 Import MikeWire mov and place it on the timeline Fig
36. ers employees authorized resellers agents and other representatives collectively the Released Parties from all claims defense costs including but not limited to attorneys fees judgments settlements and other expenses arising from or connected with the operation of Licensee s business or Licensee s possession or use of the Software or Documentation Section 10 Limited Liability In no event shall the Released Parties cumulative liability to Licensee or any other party for any loss or damages resulting from any claims demands or actions arising out of or relating to this Agreement or the Software or Documentation contemplated herein exceed the License Fee paid to The Foundry or its authorized reseller for use of the Software Furthermore IN NO EVENT SHALL THE RELEASED PARTIES BE LIABLE TO LICENSEE UNDER ANY THEORY FOR ANY INDIRECT SPECIAL INCIDENTAL PUNITIVE EXEMPLARY OR CONSEQUENTIAL DAMAGES INCLUDING DAMAGES FOR LOSS OF BUSINESS OR LOSS OF PROFITS OR THE COST OF PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES The Foundry FurnaceCore 86 APPENDIX B End User License Agreement REGARDLESS OF WHETHER THE RELEASED PARTIES KNOW OR HAVE REASON TO KNOW OF THE POSSIBILITY OF SUCH DAMAGES AND REGARDLESS OF WHETHER ANY REMEDY SET FORTH HEREIN FAILS OF ITS ESSENTIAL PURPOSE No action arising out of or related to this Agreement regardless of form may be brought by Licensee more than one 1 year after Licensee s initial receipt o
37. ettings FurnaceCore time To further illustrate the problem consider the rendering time of applying F DeNoise followed by F DeFlicker followed by F MotionBlur For simplicity we ll assume Final Cut Pro does no caching at all Also we ll assume that the clip is 100 frames long that each of these effects evaluates 10 input frames at a time to produce one output frame and that in isolation each effect requires 1 minute to render an output frame We have two options the first being to apply all effects at once and the second is to render them out and apply them one at a time 1 Rendering all effects at once In this instance we have 100 motion blurs each needing 10 previous deflicker renders each of which needs 10 previous denoise renders This requires 100x10x10x1 minutes for a total of 10 000 minutes 2 Rendering one at a time Here we have 100 denoise renders followed by 100 deflickers followed by 100 motion blurs The total time required for the three renders is 300 minutes this is more than 33 times faster than option 1 When using the FurnaceCore plug ins it is important that Final Cut Pro s field dominance setting for the input clip is correct If you inadvertently mislabel the field dominance of input clips you may get artifacts in the output sequence generally these artifacts will be visible on the leading and trailing edges of moving objects For example if you apply F DeFlicker to a fielded clip for
38. f the Software provided however to the extent such one 1 year limit may not be valid under applicable law then such period shall limited to the shortest period allowed by law Section 11 Term Termination This Agreement is effective upon Licensee s acceptance of the terms hereof by clicking on the Accept button and Licensee s payment of the License Fee and the Agreement will remain in effect until termination If Licensee breaches this Agreement The Foundry may terminate the License granted hereunder by notice to Licensee In the event the License is terminated Licensee will either return to The Foundry all copies of the Software and Documentation in Licensee s possession or if The Foundry directs in writing destroy all such copies In the later case if requested by The Foundry Licensee shall provide The Foundry with a certificate signed by an officer of Licensee confirming that the foregoing destruction has been completed Section 12 Confidentiality Licensee agrees that the Software and Documentation are proprietary and confidential information of The Foundry and that all such information and any communications relating thereto collectively Confidential Information are confidential and a fundamental and important trade secret of The Foundry Licensee shall disclose Confidential Information only to Licensee s employees who are working on an Authorized Project and have a need to know such Confidential Information and sha
39. he sampled grain result in F ReGrain was different in the final render This has been fixed BUG ID 8782 ReGrain was missing its Show Result Grain Plate option This has been fixed e BUG ID 8957 FCP scaling resulted in incorrect grain sample scale in F ReGrain which would adversely affect results This has been fixed e BUG ID 9236 F DeFlicker would produce blank output images if the input images were too small This could occur for instance if the render quality setting of the output segence was low and the image in the viewing canvas was zoomed out This has been resolved by not further downsizing the images DeFlicker uses internally In extreme cases where the input images are still too small smaller than 64x64 pixels a user message is set e BUG ID 9291 A double memory deallocation in F ReGrain could cause the plug in to crash This has been fixed Known Bugs and Workarounds e A note on the viewing Canvas in Final Cut Pro In Final Cut Pro there are two options for viewing the results of an applied effect 1 You can either scrub along the timeline directly in which case you need to wait a bit before processed frame results are shown or 2 you can first render out the clip or sequence by using Cmd R or by selecting one of the Render options in the Sequence menu and then you can scrub and see results immediately It is often the case particularly when zooming in on frames that the viewing Canvas will disp
40. he second field is recorded after the first field For example let s imagine a clip that shows a ball moving from left to right across the screen Figure 18 shows what two frames from this clip might look like and how these frames could be represented as two fields As you can see the ball moves slightly to the right between fields and the fields appear squashed because they only contain half of the image information You should also notice that because the fields are recorded and displayed immediately after each other and two fields make up one frame the ball does not move quite The Foundry KRONOS 41 Quick Start as far between two fields as it does between two frames Figure 18 Two frames on the left divided into fields on the right Kronos is able to retime between frames and between fields This is illustrated in Figure 19 Figure 19 Retiming between frames and between fields The Foundry FurnaceCore 42 KRONOS Parameters Parameters FurnaceCore By default the retime operation is applied to frames Because any moving objects will be further apart between frames than between fields this can produce a slightly riskier retime To get better results for the retime you can perform the retime on fields instead of frames This way the moving objects will be closer to each other which improves the results of the motion estimation However because the retime is done between fields and the scan lines th
41. icensing Run the FLD and e mail the resulting text file to support thefoundry co uk with a clear description of the problem If the plug ins fail to get a license the incident is recorded in an error log file The time date and nature of the problem are appended to the end of the file The error log file can then be found in the following location Library Application Support TheFoundry FLEXIm log license log System Administrators may wish to find out more about licensing FurnaceCore with FLEXIm We recommend reading the Foundry FLEXIm Tools FFT User Guide available to download from our web site http www thefoundry co uk licensing In addition there are general FLEXIm licensing guides on Macrovision s web site http www macrovision com All FurnaceCore plug ins integrate seamlessly into Final Cut Pro They are applied to your clips as you would any other plug in and they can all be animated using the standard animation tools You can load FurnaceCore plug ins from Effects gt Video Filters gt FurnaceCore Their parameters appear on the Filters tab of the Viewer The Foundry Computational Requirements The Foundry INTRODUCTION 11 About FurnaceCore Plug ins All FurnaceCore parameters include two important buttons the Help button When clicked this displays instructions related to the plug in The user message button By default this is grayed out The button only activates when FurnaceCor
42. ins that have a clip well in their controls for example F ReGrain you may get poor results if you drop a new clip in without clearing the old one This is because the plug in may fail to re analyse the clip As a workaround you should always clear the old clip first before applying a new clip To do so right click on the clip well and select Clear The Foundry APPENDIXA 77 Release Notes e BUG ID 8688 When rendering fielded footage F DeNoise and F DirtRemoval plug ins fail to render both fields for the final frame One field is therefore transparent Until this is remedied it is recommended that you remove the last frame from the processed clip or sequence To clearly see whether a field is transparent in the final frame the Canvas viewer s zoom level should be set to 100 At this zoom level the Canvas viewer s background colour white black or checkered will show through the unrendered lines BUGID 8778 The grain sample box for F ReGrain can be offset from the user clicked position depending on the dimensions of the grain clip The current work arounds are to either click further away from nearer to the centre of the image until the grain sample box is where you need it to be or to e enter the offset for the grain sample box manually by typing it in e BUG ID 8780 ReGrain does not deinterlace the noise sample before use e BUG ID 8958 Integer sliders such as F DeFlicker s Window Size behave as though
43. is method gives a particularly good result on slopes It produces the same result on vertical lines as Interpolate and a slightly better result on horizontal lines See Figure 29 Figure 24 Source Image Figure 25 Close up of fields The Foundry FurnaceCore 48 KRONOS Examples Figure 26 Duplicate Figure 27 Interpolate Figure 28 Wide Interpolate Figure 29 Slope Adaptive Examples All the images for the following example can be downloaded from our web site FurnaceCore The Foundry Taxi The Foundry KRONOS 49 Examples This example Figure 30 on page 49 shows a taxi driving past our offices in Soho We ll retime this sequence to speed up the taxi at the start and slow down at the end Figure 30 London taxi Step by Step 1 A UN Import Taxi mov and place it on the timeline Render the taxi clip to get a sense of the motion Select Effects gt Video Filters gt FurnaceCore gt F Kronos 4 1 By default the clip will be slowed down to half speed However we wish to have a fast start and slow end So set Timing to Source Frame At frame 1 set a Frame key to be 1 and at frame 50 set a Frame key to 25 Now to get that fast start try setting the Frame key to be 12 at frame 15 Use the keyframe graph area to modify the animation graph To get a sense of the motion you can set Method to Blend render and adjust your timing curve from there FurnaceCore 50 KRONOS Ex
44. iskier retime but the results will be on the correct scan line From Field to Field retimes between the fields that are used to make up frames This produces a better retime but the results are shifted vertically by one pixel which may introduce vertical jitter in the retimed clip Deinterlacing Method this parameter is mostly needed when applying F Kronos to interlaced fielded footage in order to produce progressive footage It allows you to choose the algorithm that is used to generate the missing field For more information on interlaced footage see Frames and Fields on page 39 The None option is also useful if you are using progressive input footage with F Kronos For more information see Using Progressive Footage with F Kronos and F DeNoise on page 14 e None do not deinterlace the image This option retains both fields as they are and places them in the progressive image FurnaceCore The Foundry KRONOS 47 Parameters Duplicate the missing line is simply copied from the previous line This is very quick but of lower quality than the interpolation methods See Figure 26 e Interpolate linear interpolation from the previous and next lines See Figure 27 Wide Interpolate weighted interpolation using a wider range of lines than just the previous and next This gives very subtle differences to the Interpolate method See Figure 28 Slope Adaptive complex interpolation of the missing lines Th
45. l dirt shown in the alpha channel Any alpha in the source image will be removed FurnaceCore 32 DIRTREMOVAL Examples Examples The images for the following example can be downloaded from our web site Roller blades This clip of a roller blader suffers from a lot of dust Figure 12 Roller blader Step by Step 1 Import Rollerblade mov and place it on the timeline Play it and look at the dirt 2 Select Effects gt Video Filters gt FurnaceCore gt F DirtRemoval 4 1 FurnaceCore The Foundry DIRTREMOVAL 33 Examples 3 Make sure Output is set to Repair and render Notice how the dust has been reduced in the result D Figure 13 Repaired image 4 To see where dirt was detected and removed set Output to Dirt and render again Figure 14 The detected dirt The Foundry FurnaceCore 34 DIRTREMOVAL Examples FurnaceCore The Foundry KRONOS Introduction Quick Start The Foundry KRONOS 35 Introduction Kronos is FurnaceCore s re timer and is designed to slow down or speed up footage It works by calculating the motion in the sequence in order to generate motion vectors These motion vectors describe how each pixel moves from frame to frame With accurate motion vectors it is possible to generate an output image at any point in time throughout the sequence by interpolating along the direction of the motion Figure 15 Simple mix of two Figure 16 Kronos vector frames to achieve
46. lay the result of on line rendering a differently from the result of off line FurnaceCore 76 APPENDIX A Release Notes FurnaceCore rendering b In particular footage rendered out b is often displayed so that the frames appear to have been slightly softened or deinterlaced This is merely a Final Cut Pro display issue the footage exported to file should be fine Advanced effects may require access to multiple different frames on the timeline There is a known issue in Final Cut Pro whereby it will intermittently issue such effects with invalid frames In these rare instances where Final Cut Pro has malfunc tioned FurnaceCore will display an error message These error messages differ depending on the way in which the frame is invalid but will typically state that a program error related to an incorrect frame fields or frame sizes has occurred When this occurs you can generally safely ignore and close the error messages and continue with your work You will only encounter this when scrubbing along un rendered footage and changing parameters rapidly These errors are temporary and do not apply when the clip been rendered out by using Cmd R or by selecting one of the Render options in the Sequence menu and also do not apply when exporting or saving your final footage Apple is aware of this bug in Final Cut Pro and will be investigating a solution to the problem in due course BUG ID 8670 When using plug
47. lip is the sequence to which the colour transform will be applied The target clip is the sequence you want the source clip to match Select the source clip and choose Effects gt Video Filters gt FurnaceCore gt F_MatchGrade 4 1 Drag the target clip to the clip well of the Target parameter View the output which should now match the look of the target clip Try increasing Iterations if the match isn t close enough By default F MatchGrade calculates the transform needed to match the source image frame to the target image frame and applies this transform to every frame of the source sequence This way the transformation is temporally uniform However if you want the colour transfer to update according to the current frame of the source and target clips you can set the Source Colour From and Target Colour From parameters to Current Frame The parameters for this plug in are described below The Foundry The Foundry MATCHGRADE Parameters Target drag the target clip the clip whose colours you want the source clip to match here Iterations the number of refinement passes More iterations should produce a better match but will take longer This is an integer parameter so animating it will not produce a smooth grade change but one with obvious steps To achieve a smooth grade change mix the output from F MatchGrade with the original input sequence and animate the mix amount Source Colour From sets how the source
48. ll advise The Foundry on demand of all locations where the Software or Documentation is used or stored Licensee shall permit The Foundry or its authorized agents to inspect all such locations during normal business hours and on reasonable advance notice Section 14 Nonsolicitation Licensee agrees not to solicit for employment or retention and not to employ or retain any of The Foundry s current or future employees who were or are involved in the development and or creation of the Software Section 15 U S Government License Rights The Software Documentation and or data delivered hereunder are subject to the terms of this Agreement and in no event shall the U S Government acquire greater than The Foundry FurnaceCore 88 APPENDIX B End User License Agreement RESTRICTED LIMITED RIGHTS At a minimum use duplication or disclosure by the U S Government is subject to the applicable restrictions of i FAR 852 227 14 ALTS I Il and III une 1987 ii FAR 852 227 19 June 1987 iii FAR 812 211 and 12 212 and or iv DFARS 227 7202 1 a and DFARS 8227 7202 3 The Software is the subject of the following notices Copyright c 2009 The Foundry Visionmongers Ltd All Rights Reserved Unpublished rights reserved under the Copyright Laws of the United Kingdom Section 16 Survival Sections 2 4 5 6 7 8 9 10 12 13 14 15 16 17 and 18 shall survive any termination or expiration of this Agreement Secti
49. ll advise any recipients of Confidential Information that it is to be used only as authorized in this Agreement Licensee shall not disclose Confidential Information or otherwise make any Confidential Information available to any other of Licensee s employees or to any third parties without the express written consent of The Foundry Licensee agrees to segregate to the extent it can be reasonably FurnaceCore The Foundry APPENDIX B 87 End User License Agreement done the Confidential Information from the confidential information and materials of others in order to prevent commingling Licensee shall take reasonable security measures which such measures shall be at least as great as the measures Licensee uses to keep Licensee s own confidential information secure but in any case using no less than a reasonable degree of care to hold the Software Documentation and any other Confidential Information in strict confidence and safe custody The Foundry may request in which case Licensee agrees to comply with certain reasonable security measures as part of the use of the Software and Documentation Licensee acknowledges that monetary damages may not be a sufficient remedy for unauthorized disclosure of Confidential Information and that The Foundry shall be entitled without waiving any other rights or remedies to such injunctive or equitable relief as may be deemed proper by a court of competent jurisdiction Section 13 Inspection Licensee sha
50. mage lt Stock gt lt Exposure gt lt Size gt grain characteristics sampled from a supplied film stock Common Fuji and Kodak stocks are supplied The exposure can be under over or if left blank non aperture corrected The size is either 2K or 4K pixels For example FUJIF500 2K refers to the grain characteristics sampled from a 2K plate of Fuji Film 500 film stock non aperture corrected Show sets whether to render the result or a test image Result shows the image with the grain applied Grain Plate shows a test image with the grain applied This test image is composed from a section of the input image surrounded by a uniform solid colour sampled from the image with the grain applied Figure 55 If the inner area is indistinguishable from the outer area then you have a good grain sample Figure 53 Grain Scale adjusts the size of the grain granules Grain Gain adjusts the brightness of the grain Red Gain sets the brightness of the grain in the red The Foundry The Foundry REGRAIN 71 Parameters channel Green Gain sets the brightness of the grain in the green channel Blue Gain sets the brightness of the grain in the blue channel Red Scale adjusts the size of the grain granules in the red channel Green Scale adjusts the size of the grain granules in the green channel Blue Scale adjusts the size of the grain granules in the blue channel Low Gain adjusts the gain of the
51. mage sequence using FurnaceCore s plug in F DeNoise For hints tips tricks and feedback please visit http support thefoundry co uk F DeNoise is designed to remove noise or grain from a clip Assuming there is no motion in a sequence the best way to reduce the noise is to take an average across a number of frames temporal averaging The noise which is different on each frame will be reduced and the picture which is the same will be reinforced Temporal averaging is far superior to averaging pixels from within the same frame spatial averaging as it doesn t soften the image Unfortunately if there is motion in the sequence the averaged image will be blurred as the image appears at different locations in each frame However by estimating the motion in the sequence using The Foundry s advanced motion estimation technology it is possible to compensate for any motion and so average frames temporally without introducing any significant blurring artefacts Import the footage to be noise reduced and place it on the timeline In the Canvas set the zoom level to 10076 or higher Choose Effects gt Video Filters gt FurnaceCore gt F_DeNoise 4 1 By default the analysis method of F_DeNoise is set to Auto analysis This means F_DeNoise automatically tries to pick a suitable sample region defining FurnaceCore 21 22 DENOISE Parameters Parameters FurnaceCore an area of noise and uses that region when calculating the n
52. n also sample grain from a clip To do so set Stock Type to Sample Grain Import a clip you want to sample and drag it into the clip well of the Grain parameter Check View Grain Clip to display this clip in the Canvas Click on the button under Analysis Centre and move the selection area over a plain area of the image in the Canvas Your selection is important to get right You should avoid any image detail or even a plain area that has luminance variations underneath the grain The better this initial selection the better the result will be See Figure 51 If you can t find a decent sample area on the frame then try other frames from The Foundry REGRAN 67 Quick Start Note the same film stock Figure 51 This shows two possible selection regions that contain no edge detail and little luminance variation The red selection box on the Canvas is not an overlay but actual pixels on the image displayed If you render the grain clip the selection box will be included in the output Once you have positioned the sample area view the output of the F ReGrain node to judge the results The output will now contain the source image with grain from the sample image applied Both the size and the luminance of the new grain can be manually tweaked using Grain Scale and Grain Gain respectively The grain is sampled on a single frame which you set using the timeline Although the grain is sampled on only one frame the algorithmically crea
53. nder a watermark of dots rather than a black screen with a red cross should no valid license be found The plug ins now appear in the Effects gt Video Filters gt FurnaceCore menu with their version number after their name For example F Kronos now appears as F Kronos 4 1 This allows you to have different versions of the plug ins available on the same machine Bug Fixes Fixed issues relating to C object instances used as Objective C members The construction and destruction of the C objects was not properly done or at least undefined This could potentially have led to memory and resource leaks BUG ID 7250 Some FurnaceCore plug ins would introduce softening of the image and possibly also a downward shift These issues have been addressed BUG ID 7541 Inconsistent results in F Kronos This bug caused minor differences in the output of F Kronos on each render The results should now be consistent BUG ID 8149 Furnace would crash with High Precision YUV renders This has been fixed BUG ID 8151 F DeFlicker had motion estimation artifacts on the final frame This has been fixed BUG ID 8208 F DeNoise would show blue artifacts on 10 bit YUV High precision renders This has been fixed BUG ID 8506 F DeNoise and F Kronos would cause Final cut Pro to hang and eventually crash when scrubbing rapidly on the timeline This has been fixed The Foundry The Foundry APPENDIX A 75 Release Notes e BUG ID 8597 T
54. o viewing experience RollingShutter is a plug in that tackles image distortion problems often experienced by users of CMOS cameras The plug in will often vastly improve the look of distorted footage by either minimising or eradicating image distortions Unlike solutions tied to camera stabilisation that stretch the image as a whole the RollingShutter plug in compensates for local skewing and distortion in the scene by correcting each object individually For further details visit The Foundry s web site at http www thefoundry co uk The Foundry DEFLICKER Introduction The Foundry DEFLICKER 17 Introduction When working in film you sometimes have to deal with shots that have a luminance flicker F DeFlicker is used to remove flicker that is localised and dependent on the geometry of the scene such as that caused by an unsynchronised fluorescent light in a shot It works by calculating the gain between the current frame and each frame in a small window surrounding it It then tries to adjust the gain so that it varies smoothly over this temporal window This means it is better at reducing fast flicker than flicker which varies slowly over the image sequence as the latter will already appear smooth over the window and F DeFlicker will leave it largely untouched The algorithm used by F DeFlicker can introduce blurring in areas where there is rapid motion If this happens using local motion estimation to align the
55. oise reduction If you re not happy with the results of Auto analysis you can set Analysis Method to Sample Region This way F DeNoise works by analysing the grain structure in the region around the on screen sample crosshair Click on the crosshair button under Analysis Centre and move the crosshair over a plain area of the image in the Canvas To get a good result it is important that this area is free from image detail so no textures or edges The output should now show the denoised frame If you are still not satisfied with the results try moving the sample crosshair to a different flat area of a frame F DeNoise will reanalyse the grain structure every time this crosshair is repositioned To remove more noise simply increase the Tune parameter You can also remove different amounts of noise from the red green and blue channels by altering the Tune Red Tune Green and Tune Blue parameters The parameters for this plug in are described below Tune This adjusts the overall amount of noise or grain that is removed Increase this value to remove more noise The Fine Tuning parameters allow you to remove different amounts of noise in each of the colour channels e Tune Red increases or decreases the amount of noise removed in the red channel The Foundry The Foundry DENOISE 23 Parameters Tune Green increases or decreases the amount of noise removed in the green channel Tune Blue increases or decrease
56. on 17 Import Export Controls To the extent that any Software made available hereunder is subject to restrictions upon export and or reexport from the United States Licensee agrees to comply with and not act or fail to act in any way that would violate the applicable international national state regional and local laws and regulations including without limitation the United States Foreign Corrupt Practices Act the Export Administration Act and the Export Administration Regulations as amended or otherwise modified from time to time and neither The Foundry nor Licensee shall be required under this Agreement to act or fail to act in any way which it believes in good faith will violate any such laws or regulations SECTION 18 MISCELLANEOUS This Agreement is the exclusive agreement between the parties concerning the subject FurnaceCore The Foundry APPENDIX B 89 End User License Agreement matter hereof and supersedes any and all prior oral or written agreements negotiations or other dealings between the parties concerning such subject This Agreement may be modified only by a written instrument signed by both parties If any action is brought by either party to this Agreement against the other party regarding the subject matter hereof the prevailing party shall be entitled to recover in addition to any other relief granted reasonable attorneys fees and expenses of litigation Should any term of this Agreement be declared void or
57. or leased by Licensee in order to provide a back up in the event of destruction by fire flood acts of war acts of nature vandalism or other incident In no event may Licensee use the back up copy of the Software or Documentation to circumvent the usage or other limitations set forth in this Agreement Section 4 Ownership Licensee acknowledges that the Software and Documentation and all intellectual property rights relating thereto are and shall remain the sole property of The Foundry and the Third Party Licensors Licensee shall not remove or allow the removal of any copyright or other proprietary rights notice included in and on the Software or Documentation or take any other action that could adversely affect the property rights of The Foundry or any Third Party Licensor To the extent that Licensee is authorized to make copies of the Software or Documentation under this Agreement Licensee shall reproduce in and on all such copies any copyright and or other proprietary rights notices provided in and on the materials supplied by The Foundry hereunder Nothing in this Agreement shall be deemed to give Licensee any rights in the trademarks service marks patents trade secrets copyrights or other intellectual property rights of The Foundry or any Third Party Licensor and Licensee shall be strictly prohibited from using the name trademarks or service marks of The Foundry or any Third Party Licensor in Licensee s promotion or publicity without
58. ot always notify plug ins when clip settings have changed Therefore if you change settings for example the field dominance you may need to alter the of the Canvas zoom level or toggle one of the applied effects on and off to see the updated result Note that this is not a FurnaceCore bug it affects built in Final Cut Pro video filters as well FurnaceCore 14 INTRODUCTION About FurnaceCore Plug ins Using Progressive Footage with F Kronos and F DeNoise Multiple Scenes in a Clip FurnaceCore At the time of writing Final Cut Pro 6 and 7 are unable to provide full resolution progressive frames to plug ins that require random access to the timeline In FurnaceCore there are two such plug ins F Kronos and F DeNoise If you use progressive footage with these plug ins the results will usually appear slightly smoothed Final Cut Pro does however allow full resolution access to interlaced frames Therefore the workaround for the problems is to make Final Cut Pro believe the footage is interlaced fielded rather than progressive To label your progressive input clip as being upper fielded right click on the clip and select Item Properties gt Format Then set Field Dominance to Upper Odd This ensures the effects are applied to the full resolution progressive footage However because Final Cut Pro now assumes the footage to be interlaced it automatically tries to deinterlace it To stop this from happening set Dein
59. ount of detail used for the motion estimation The maximum value of 1 will produce the most accurate motion vectors but will take longer to render Retime Fields sets whether the retime operation is performed between frames or fields From Frame to Frame retimes between complete frames This can produce a slightly riskier retime but the results will be on the correct scan line From Field to Field retimes between the fields that are used to make up frames This produces a better retime but the results are shifted vertically by one pixel which may introduce vertical jitter in the retimed clip All the images for the following example can be downloaded from our web site For more information please see Example Images on page 5 The Foundry MOTIONBLUR 63 Example BelleWalking In this example we ll use F MotionBlur to add motion blur to the sequence Step by Step 1 Import the BelleWalking mov clip and place it on the timeline 2 Render the clip to get a sense of the motion Go to frame 16 on the time line this merely gives a better example than the initial frames 3 Select Effects gt Video Filters gt FurnaceCore gt F MotionBlur 4 1 4 Set Shutter Time to 10 and Shutter Samples to 10 You should get an image as in Figure 45 Figure 45 Output image 5 We can see the individual samples still for example at the back of the dress and the right hand foot Increase Shutter Samples The Foundry
60. re slightly apart vertically the results are vertically shifted by one pixel This can introduce vertical jitter in the retimed clip You can choose whether to retime between frames or fields using the Retime Fields parameter The parameters for this plug in are described below The Foundry The Foundry MOTIONBLUR 61 Parameters Shutter Time sets the equivalent shutter time of the retimed sequence A shutter time of 1 is equivalent to averaging over plus and minus half an input frame which is equivalent to a shutter angle of 360 degrees A shutter time of 0 5 is equivalent to a shutter angle of 180 degrees Imagine a grey rectangle moving left to right horizontally across the screen Figure 41 and Figure 42 show how Shutter Time affects the retimed rectangle Figure 41 shutterTime 1 Figure 42 shutterTime 0 5 Note that the effect of Shutter Time will only be noticeable if you ve enabled motion blur by setting Shutter Samples to a value greater than or equal to 2 Shutter Samples sets the number of in between images used to create an output image during the shutter time Increase this value for smoother motion blur Decreasing Shutter Samples to any value less than 2 will effectively disable motion blur The default value is 1 so FurnaceCore 62 MOTIONBLUR Example Example FurnaceCore that motion blur is off by default Figure 43 shutterSamples 2 Figure 44 shutterSamples 20 Vector Detail the am
61. regions we detune the motion based dirt detector and add a spatial dirt detector Only if both detectors flag dirt do we actually believe there to be dirt The Foundry Quick Start Parameters The Foundry DIRTREMOVAL 31 Quick Start Import the sequence to be cleaned and place it on the timeline Select Effects gt Video Filters gt FurnaceCore gt F DirtRemoval 4 1 Render and view the result To see where the dirt has been detected and removed set Output to Dirt and render again If you think the results could be better vary the preset applied as required If regions of motion have been incorrectly classified as dirt choose a lower preset If dirt has been missed try choosing a higher preset The parameters for this plug in are described below Presets this is the main control for the plug in which trades off the amount of dirt detected and repaired verses the number of false detections and incorrect repairs For archive footage you should typically choose Very Aggressive whereas for a modern scan with isolated patches of dust you should choose Cautious or Neutral Output as well as the repaired image it is possible to output diagnostic images which are useful for tuning the parameters Source the original frame containing dirt Dirt a black and white image showing where dirt has been detected Repair the repaired output image Repair Dirt In Alpha the repaired output image with the fina
62. rmal time curve tools provided by Final Cut Pro to create any time curve you might need If the motion is speeded up motion blur will be seen At this point you can render a re timed sequence using the default parameter settings Better results may be achieved by tuning Kronos using the following parameters Kronos uses motion estimation to retime footage These motion estimates are stored in a vector field You can adjust the Vector Field parameter to get a higher resolution vector field The larger Vector Detail is the greater the processing time but the more accurate the vectors should be A value of 1 will generate a vector at each pixel A value of 0 5 will generate a vector at every other pixel In some circumstances you may find that a lower Vector Detail may give smoother more natural looking results even though they are less accurate FurnaceCore 38 KRONOS Quick Start Using Placeholder Frames in Slow Downs Use Smoothness to adjust the smoothness of the vectors generated A high smoothness will miss lots of local detail but is less likely to provide you with the odd spurious vector A low smoothness will concentrate on detail matching even if the resulting field is jagged When slowing down footage you may notice that you cannot access the entire clip after applying F Kronos to it For example if your clip is 50 frames long and you slow it down to half a speed 25 frames of the original clip are left outside
63. s the amount of noise removed in the blue channel Analysis Method Choose how you want to find the flat sample area that is used to analyse the grain structure in the image e Auto analysis let F DeNoise automatically pick a sample area from the image Sample Region manually pick a sample area from the image Auto analyse button If Analysis Method is set to Auto analysis but you are not happy with the results of the analysis you can change the frame to analyse on the timeline and then click this button to perform a new automatic analysis Analysis Centre change the position of the centre of the analysis region Click the button to move the crosshair into a new position on the Canvas or enter new coordinates for the centre point in the coordinates fields Sample Region shows what is included in the analysis region when you are picking the sample region manually This area should be free of image detail Analysis Frame shows the frame to analyse on You cannot adjust this parameter Deinterlacing Method this parameter is mostly needed when applying F DeNoise to interlaced fielded footage in order to produce progressive footage It allows you to FurnaceCore 24 DENOISE Parameters choose the algorithm that is used to generate the missing field For more information on interlaced footage see Frames and Fields on page 39 The None option is also useful if you are using progressive footage with F D
64. ted grain will change from frame to frame but mirror the characteristics of the sample The Foundry FurnaceCore 68 REGRAIN Quick Start Note Grain Stock Response Checking the Result FurnaceCore grain There is a minimum size of the sample clip below which the statistical analysis of the grain will be unreliable The minimum size is about 128x128 ReGrain results will differ significantly if you change the render resolution otherwise known as the proxy resolution setting of your sequence from lower 25 to higher 100 because the render resolution affects the grain computation Therefore you should only use ReGrain for full resolution renders To change the render resolution of your sequence right click on the sequence click Settings navigate to the Render Control tab and set the resolution to 100 Note that a user warning will be set in the user message button if you use ReGrain at less than full proxy resolution To add grain from a standard film stock select from the Stock Type list 2K 4K aperture corrected and non aperture corrected stocks are included Individual colour channels can be selected and adjusted using the Gain and Scale parameters In its default setting F ReGrain adds the same amount of grain over the whole image However the amount of grain on an image is normally a function of luminance You can adjust how the amount of grain added varies with luminance The Low Gain Mid Gain and
65. terlacing Method to None in the F Kronos or F DeNoise controls Note that using this workaround produces a very subtle change in the output F DeNoise When used with F Kronos the effect is far more noticeable FurnaceCore plug ins will only work on clips containing frames from a single scene or shot If your footage contains scene changes then you need to take care to apply the FurnaceCore plug in to the relevant time domain in the clip In Final Cut Pro this can be done in the following way 1 Add the FurnaceCore effect to the clip 2 Set the region of the timeline to which the effect will be applied Go the timeline directly right of the effect name The Foundry Customer Support Other Foundry Products The Foundry INTRODUCTION 15 Customer Support e Drag the left and right black bars which indicate the active boundaries to which the effect will be applied to the positions where they need to be that is so the effect is only applied to the separate scene 3 Add the same or additional FurnaceCore effects to the clip and repeat step 2 for the remaining shots scenes Should questions arise that this user guide fails to address you can contact Customer Support directly via e mail at support thefoundry co uk or via telephone to our London office on 44 0 20 7434 0449 or to our Los Angeles office on 310 399 4555 during office hours The Foundry is a leading developer of visual effects software for film and
66. unenforceable by any court of competent jurisdiction such declaration shall have no effect on the remaining terms of this Agreement The failure of either party to enforce any rights granted hereunder or to take action against the other party in the event of any breach hereunder shall not be deemed a waiver by that party as to subsequent enforcement of rights or subsequent actions in the event of future breaches This Agreement shall be governed by and construed in accordance with English Law Copyright c 2009 The Foundry Visionmongers Ltd All Rights Reserved Do not duplicate The Foundry FurnaceCore 90 APPENDIX B End User License Agreement FurnaceCore The Foundry A activating FurnaceCore 7 alternative license directories 9 Anvil 15 C contacting The Foundry 15 contexts 15 customer support 15 E End User License Agreement 81 error log files 10 F F DeFlicker 17 21 51 57 F DirtRemoval 29 F Kronos 35 F ReGrain 65 fielded footage 12 39 Filmic Response 68 flicker 17 I installing a license 8 installing FurnaceCore 6 K Keylight 15 The Foundry INDEX A Z L license file moving the 9 license file location 9 license problems 10 Imhostid 9 M Motion Blur 38 motion vectors 35 P plug in contexts 15 product activation 7 progressive footage 14 R Release Notes 73 re timer See Kronos 35 S system ID 9 T The Foundry contacting 15 Tinder 16 Tinderbox 15 w watermarks 9 w
67. ure 7 Original image 2 In the Canvas set the Zoom pop up menu to 100 or higher 3 Select Effects gt Video Filters gt FurnaceCore gt F DeNoise 4 1 4 Render out the sequence to see the results FurnaceCore The Foundry DENOISE 27 Example 5 Compare the original and denoised sequences by viewing them one after the other Notice that the noise has been reduced Figure 8 Zoomed original image Figure 9 Zoomed output image The Foundry FurnaceCore 28 DENOISE Example FurnaceCore The Foundry DIRTREMOVAL Introduction The Foundry DIRTREMOVAL 29 Introduction This chapter looks at the removal of dust and dirt from images using FurnaceCore s plug in F DirtRemoval For hints tips tricks and feedback please visit http support thefoundry co uk F DirtRemoval will automatically detect and remove specs of dust and dirt from a frame Figure 10 Before Figure 11 After The plug in works by looking for objects that appear for only one frame after taking account of the motion in the sequence For example e A spec of dirt that appears for only one frame will be classified as dirt e A football being kicked across the image will not be classified as dirt because after taking account of motion it appears in each frame of the sequence A vertical scratch in a sequence will not be classified as dirt as it appears in the same place in each frame FurnaceCore 30 DIRTREMOVAL
68. video post production Its products include Nuke a high end compositing application and plug ins such as Furnace Tinder Tinderbox Keylight Ocula and RollingShutter The plug ins run on a variety of compositing platforms including After Effects Autodesk Media and Entertainment Systems Avid DS Nuke Shake and Final Cut Pro For the full list of products and supported platforms see our web site http www thefoundry co uk Nuke is an Academy Award winning compositor It has been used to create extraordinary images on scores of feature films including 7he Dark Knight The Golden Compass Iron Man Transformers King Kong and Pirates of the Caribbean At World s End Tinder and Tinderbox are collections of image processing FurnaceCore 16 INTRODUCTION Other Foundry Products FurnaceCore effects including blurs distortion effects background generators colour tools wipes matte tools paint effects lens flares and much more Keylight is an industry proven blue green screen keyer giving results that look photographed not composited The Keylight algorithm was developed by the Computer Film Company who were honoured with a technical achievement award for digital compositing from the Academy of Motion Picture Arts and Sciences Ocula is a collection of tools that solve common problems with stereoscopic imagery improve productivity in post production and ultimately help to deliver a more rewarding 3D stere
69. ving left to right horizontally The Foundry KRONOS 45 Parameters across the screen Figure 20 and Figure 21 show how Shutter Time affects the retimed rectangle Figure 20 Shutter Time 1 Figure 21 Shutter Time 0 5 Decreasing Shutter Samples to any value less than 2 will effectively disable motion blur The default value is 1 so that motion blur is off by default Shutter Samples sets the number of in between images used to create an output image during the shutter time Increase this value for smoother motion blur Figure 22 Shutter Samples 2 Figure 23 Shutter Samples 20 Auto ShutterTime works in conjunction with the Timing parameters Speed or Frame If you ve animated the Speed or Frame parameters so that your footage is sped up by The Foundry FurnaceCore 46 KRONOS Parameters varying amounts at different times then Auto ShutterTime will attempt to apply a suitable amount of motion blur to the retimed footage Essentially it animates the Shutter Time parameter automatically As always Shutter Samples specifies the smoothness of the motion blur Note that the effect of Auto ShutterTime will only be noticeable if a you have sped up your footage and b you have set Shutter Samples to a value greater than or equal to 2 Retime Fields sets whether the retime operation is performed between frames or fields From Frame to Frame retimes between complete frames This can produce a slightly r
70. which you have inadvertently set the Field Dominance to None in Final Cut Pro then you are likely to see artifacts in the output footage This is because complex plug ins access multiple input pixels often spread over several frames to The Foundry The Foundry INTRODUCTION 13 About FurnaceCore Plug ins compute the result for one output pixel When you mislabel field dominance you cause information from the separate fields to be mixed together which ultimately results in artifacts In short you should be careful about inadvertently mislabelling the field dominance of input clips To check that you are using the correct settings right click on your clip and select Item Properties gt Format gt Field Dominance A note on shifting field order Sometimes you will need to alter the field dominance of a lower first input clip for use in an upper first output sequence or vice versa FurnaceCore plug ins will not alter the field dominance for you automatically To alter the field dominance you should use Final Cut Pro s built in Shift Fields video filter If you apply a FurnaceCore plug in to a clip with the opposite field dominance of the output sequence the plug in will issue a user alert to remind you that you may need to use the Shift Fields video filter This warning can be viewed by clicking the user message button see About FurnaceCore Plug ins on page 10 A note on Final Cut Pro s viewer Final Cut Pro does n

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