CompuServe Thread

Martin, >>Kieron, oh man of a thousand questions <G>,<< Well 60 thousand to be precise <g> Sorry if I'm being a hassle it's all just so interesting and as they say knowledge is power, an I feel about as powerful as a Sinclair ZX-81 sat next to a Cray at the mo'<g> >> He proved a lot of people wrong and a one of the ways it was done was by rendering at around video rez (sub 1k) and using intelligent scaling software to pump it up to 2k << I guess when you spend about $6 million and gross $100 million that's a good way to prove people wrong. Didn't Brett Leonard work on Virtuosity as well? That solution seems a good one and (as far as I remember) it wasnt noticeable in LWM, I bet they're not all so simple though. That's got me thinking, you could use a similar technique for showreel production and just resample the frames up to a higher res to increase rendering. Hmm now where did I leave that intelligent scaling software (I guess video post might handle it)? >>My render times were only around 1 minute per frame and I could handle the whole shot on one Pentium 100 with 128mb ram<< Wow. Do you render the CG separate from the live action then composite or do you work very close with the original footage on screen? >>you're a smart guy. I could just say "yes" to most of your questions because you supply the answers <g>. I think the great talents have a solid mixture of both and they also have to be fast and be able to perform their magic in a stressful production environment.<< I do? That's news to me !<g> Well most things I have an inclination towards an answer but I've no idea if I'd be right or not. I never really thought about the stress question before but you guys must have your backs up against the wall all the time, how on earth do you cope with it all? I guess I'm going to find all about it, I think the deadline for this game is February!! >>…I did get that shot to work. Now whether it survives in the final edit of the movie is anybody's guess – maybe not 'cos it was a little silly<< Hey that was fascinating about the making of that shot I hope it's stays in for the final cut and UK release. Was the explosion to airborne wildlife the most crucial (and difficult) element to get right or was it the actor integration? Did you explode the piano and the morph the fragments to the birds, bit simplistic but I'm trying to visualise it? What a bloody nightmare though you work so hard on a shot and it might not make the final edit, no way! >>tenacity is very important. Too many people are looking for this stuff to be easy and they give up far too quickly<< That's good I'm aiming for the tenacity of Animal (out of the Mupets).<g> Hell maybe I'm stupid but practically nothing seems to go easy for me, I may sit there trying to implode the monitor by mere thought alone but at least it taught not to give up. Through a haze of confusion pops up an answer. >>yes, and we look very similar too – ROFL! I'll take any compliment I can get.<< Grin! I wondered why you were wearing those shades in that SFX book. <bg> Thanks as always, Kieron.