PanasonicNZ
Well-known member
Surf, There's NOTHING you can do with a Fire/Inferno "demo" software. They are not x386 compatible. They run on UNIX monsters and cost a fortune. Are you really that rich?...
discreet vs. adobe
- Thread starter surf
- Start date
PanasonicNZ
Well-known member
When you buy inferno or fire you buy a turnkey system An obscenely expensive system for that matter (a Smoke on Linux is about $80K...). Unless you are in for LOTR 4, or King Kong 2 or Star Wars 7 you shouldn't need this. Combustion is more than enough.
The funny thing is that all the LOTR compositing and such was done in Shake using Keylight, Ultimatte, and Primatte! They didn't even bother with a super expensive system.
http://www.apple.com/pr/library/2004/mar/01shake.html
http://www.apple.com/pr/library/2004/mar/01shake.html
surf
Veteran
so if I have AE I don't need to change to Combustion, because, it is nearly the same as AE. and if I want high-end effects I shloud buy inferno and fire, but then I have to change my PC suit, and it costs a lot more. so I think AE and premier is better if you wanna use your home monster pc. am I rigth?
Scottdvx100
Veteran
The point of something like Inferno is to allow high speed compositing for interactive sessions.
This is important with things like commercials where you have a client in the room.
With films it's a different story. You don't have a client there while you're working. Most major film effects houses have some flames/infernos for specific types of task but the large bulk of the work is done with in-house tools and a range of desktop solutions.
And yes, all the desktop solutions can and are used for doing high end work.
All of these can handle film resolution plates and include a reasonable amount of tools.
Key differences will be the speed of your machine, speed of the software, flexibility of the software, etc.
At this point doing high end effects is limited only by the operator. How well do they understand the compositing process and the various ins and outs of getting something that works for the shot.
This is important with things like commercials where you have a client in the room.
With films it's a different story. You don't have a client there while you're working. Most major film effects houses have some flames/infernos for specific types of task but the large bulk of the work is done with in-house tools and a range of desktop solutions.
And yes, all the desktop solutions can and are used for doing high end work.
All of these can handle film resolution plates and include a reasonable amount of tools.
Key differences will be the speed of your machine, speed of the software, flexibility of the software, etc.
At this point doing high end effects is limited only by the operator. How well do they understand the compositing process and the various ins and outs of getting something that works for the shot.