What’s New · the RSA Data Security, Inc. MD5 Message-Digest Algorithm" in all material...

What’s New

Autodesk® Lustre® 2012 Extension 1A Discreet® systems product

Autodesk® Flame® 2012, Autodesk® Flame® Premium 2012, Autodesk® Flare™ 2012, Autodesk® Lustre® 2012,Autodesk® Smoke® 2012, Autodesk® Smoke® for Mac OS® X 2012 software

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Autodesk Lustre Extension 1 What's NewTitle:

1Document Version:

September 22, 2011Date:

Contents

Chapter 1 Compatibility . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Chapter 2 Project Management . . . . . . . . . . . . . . . . . . . . . . . . 3

Chapter 3 Format Support . . . . . . . . . . . . . . . . . . . . . . . . . . 11

Chapter 4 Transcode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Chapter 5 User Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Chapter 6 Grading Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Chapter 7 VTR I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Chapter 8 Interoperability with Smoke & Flame 2012 extension 1 . . . . . 33

Chapter 9 Miscellaneous . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

i

Compatibility

We recommend that you create a new project and a new user when working witha new version of Lustre.

Note the following limitations when working with content created with previousversions of Lustre:■ Projects, users, cuts and grades created in previous versions of Lustre can be used in Lustre

2012 Extension 1.

■ New content generated with the new release is not compatible with the previous release.You cannot import content created with Lustre 2012 Extension 1 into previous releases.

Wiretap Versions:Working with Smoke/Flame Projects from Previous Releases

When rendering to the Wiretap server, the version of the Wiretap server must match theversion of the Smoke or Flame project you are writing to.

After installing Smoke and Flame 2012 Extension 1, the current Wiretap server is 2012Extension 1. If you need to use the Lustre 2012 release to render to a project from Smoke/Flame2012, you must have Wiretap server 2012 running.

To revert to the previous version of the Wiretap server:

1 Go to /usr/discreet/<smoke_version>/bin.

2 As root, run ./selectWiretapVersion.py (it will tell you which version is currently running).

3 Type the number next to the version you wish to run (it may not automatically startthe WT server, so afterwards do a: sw_restart).

If you want to go back to the other Wiretap server version, repeat these steps.

Wiretap Gateway Licensing

You must request a Wiretap Gateway license for any Linux / Mac OS X Wiretap Gatewayserver that does not run Smoke/Flame or Lustre applications. Without the license, you cannotaccess media files through the Wiretap Gateway server or Backburner Manager. This means

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that you need a license for any interoperability workflows between Smoke/Flame/Lustre, aswell as for any background rendering and background transcoding workflows.

2 | Chapter 1 Compatibility

Project Management

Project-based Render Naming

For each project, you can now define the folder structure and media files that are generatedat render time. You can use the default path structure defined in the RenderNaming sectionof the init.config file. Or you can customize your renders by modifying the fields in the newRender Naming menu in the Project settings. Use Tokens (words representing values) tocustomize the folder location and file names based on the default values.

You can also create project templates with a customized render naming structure. If you createa project template named "default", newly created projects will automatically use the rendernaming structure defined in this template instead of the default path structure in the init.configfile.

NOTE Avoid using spaces in the names you choose for your folders. Use underscores instead.

Render Naming menu

The following tokens can be used for rendering:■ [PROJECT_NAME]: Name of the current project.

■ [PROJECT_HOME]: Home folder of the project.

■ [SCANS_HOME]: Location of the scans home according to the current Full or Half resolutionview at the time of render.

■ [SCANS_FULL_HOME]: Location of the full resolution scans.

■ [SCANS_HALF_HOME]: Location of the proxy resolution scans.

■ [RENDERS_HOME]: Location of the renders home according to the current Full or Halfresolution view at the time of render.

■ [RENDERS_FULL_HOME]: Location of the full resolution renders.

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■ [RENDERS_HALF_HOME]: Location of the proxy resolution renders.

■ [SCENE]: Current scene name.

■ [USER]: Current user.

■ [RESOLUTION]: Output resolution, i.e. 1920x1080.

■ [REEL_NAME]: Reel/tape name of the source clip.

■ [STEREO_LAYER]: Left or Right.

■ [GRADE_NAME]: Grade name (i.e grd01).

■ [GRADE_NOTE]: Text data entered by user and displayed between the grade name andcut --> grd01 FinalGrade [cut01], "FinalGrade" is the grade note.

■ [CUT]: Name of the cut.

■ [UID]: Shot-based Unique ID.

■ [ORIGINAL_FILENAME]: the original file name of the source clip (minus the extension),like "12345_clip.0000001.dpx", "12345_clip" is the file name.

■ RED [ORIGINAL_PATH]: the original path and file name of the source clip (includingthe extension). Use this token to replace the source footage when rendering. When thistoken is used, the padding field is not available since the original file padding is used.Note that this token can only be used with local footage and file formats that Lustre canrender out. It cannot be used in workflows that involve rendering to a Smoke/FlameStandard Filesystem.

Note: You must include the brackets when typing a token in the render path field.

You can also define the padding of the file name (i.e the number of digits used for filenumbering) for any render mode.

Example:

<NormalPadding string=".%06d" /> will generate a six digit file like this: filename.123456.dpx.

It is possible to remove the "." to create a file with only a frame index (no filename), likethe default padding value of the One Sequence render mode.

Modifying the Render Naming

If you type an invalid token and press enter (or select another path field), Lustre will highlightthe invalid token to warn you about the error.

Also, after modifying a render location field, if you want to revert to the default locationdefined in the init.config, press the CTRL key and click on the field you want to reset.

4 | Chapter 2 Project Management

Grade-based Render Location

Starting in Lustre 2012 Extension 1, each grade saves the current render naming pathassociated with its render mode every time you start a new render, submit a render job toBurn or the Slave render. This means if you modify a render naming path for a new grade,and you load a previous grade that has a different rendering path for the same render mode,Lustre will be able to link the grade to its previously saved render path. The render namingpaths are saved in the file called <grade name>.renderinfo.

Command-Line Renderer

To use the new Render Naming convention, there is a new option -9 which allows you toenter the absolute render path along with the supported tokens you wish to use. You mustalso provide the command-line renderer with the same render naming structure that isentered in the Lustre application in order to view the media files rendered at the expectedlocation. Below is a sample command line render:

./render -s SD_scene -g grd01 -r full -o dpx -1 //mnt/StorageMedia/projects/LOCAL -2 //mnt/StorageMedia/scans -3 /mnt/StorageMedia/renders -9 /"[RENDERS_HOME]/Normal/[SCENE]/[GRADE_NAME]/[REEL_NAME] //[RESOLUTION]/[UID][ORIGINAL_FILENAME][GRADE_NAME]" -I ".%06d"

Note: if you do not use the -9 option, the command-line renderer will generate media filesin the legacy location (prior to 2012 Extension 1). If you wish to view the files renderedwith the legacy command line strings, the Render Naming fields need to have non-defined(ie. blank) fields. Also, make sure to write the render naming path and padding value betweenquotes (" ").

Command-Line Renderer Test Mode

It is now possible to use a new Test mode with the Command-Line Renderer (-H). In thismode, no media files are written.

Example:

./render -s SD_scene -g grd01 -r full -o dpx -1 //mnt/StorageMedia/projects/LOCAL -2 /mnt/StorageMedia/scans -3 //mnt/StorageMedia/renders -9 /"/[RENDERS_HOME]/Normal/[SCENE]/[GRADE_NAME]/[REEL_NAME] //[RESOLUTION]/[UID][ORIGINAL_FILENAME][GRADE_NAME]" -I ".%06d" -H

Project Management | 5

Rendering to the Wiretap Server

When rendering to a Wiretap destination, ie. <wiretap_server>@wt:/stonefs…, the clip namesare not affected by the Render Naming convention. However, the naming of the Media fileswill be affected if the Wiretap Render option is enabled (i.e. media files in this case arewritten to a shared location as unmanaged media).

About Backward Compatibility

Even if it is recommended to create new projects when upgrading to a new version of Lustre,you can still use a project created in a previous version. Since there are no Render Namingsettings in a prior version, Lustre 2012 Extension 1 will load legacy projects with blankRender Naming fields. If you render grades from old projects, the files will be generatedwith the legacy render structure. In Lustre 2012 Extension 1, users can update the old projectand define the Render Naming options, if needed. But in this case, the old project will nolonger be compatible with the previous version of Lustre.

It is also possible to copy grade files from an old project into a new project created in 2012Extension 1. In this case, rendering will generate files with the new Render Naming pathsand Lustre will be able to display the rendered media in Print view since Lustre saves thecurrent Render Naming path to the <grade name>.renderinfo file each time you start a newrender.

Preset Management

Lustre 2012 Extension 1 introduces a new way to organize presets based on the Grade binworkflow. In previous versions, all Presets were saved in the "presets" folder located in thehome of the application. Since all these presets were seen in all projects by all users, it wassometimes difficult to find presets. You can now organize your presets in the followingways:■ Global: all users in all projects can share the presets.

■ Project: only presets from the current project are available.

■ Scene: only presets from the current scene are available.

■ User: only presets from current user are available.

■ Marry: media-based presets.

Global Presets Location

It is possible to define the Global Presets location in the init.config file. The default locationis in the "Autodesk" folder.

Note: Previously, the Global Presets folder was located in the home of the application. Ifyou want to re-use this content, you must define the previous location in the init.config


file or move the Global Presets folder to the Autodesk folder. Moving the files will preventthis content from being used in previous versions of Lustre.

Project-based Grade Bin and Presets

When creating a new project, you can define where the project Grade Bin and Presets foldersare located from the Rendering menu. The default location is inside the project home folder.

Note: the user interface of the Project / Rendering menu has been updated to support thenew options.

User-based Grade Bin and Presets

When creating new user settings, you can define where your Grade Bin and Presets foldersare located from the System & Menu page. Default location is located inside the user homelocation.

Presets Bin

When you enable the Presets button, the Grade Bin is replace with the Presets Bin of thecurrent menu.

The Presets bin is available from the following menus:■ Colour

Grading / Curves / Secondaries (Geometry, Gmasks & Tracker). To access the Keyerpresets, right-click on any of the Diamond keyer colour presets (R/G/B/C/M/Y/Sh/Mid/Hi)or on the HLS keyer mode (Hue/Lum/Sat).

■ Degrain


Note: In the Flame Premium configuration, the default location of the Denoise Lustre import/ export is located in the Project Preset folder.

Marry Presets Bin

In addition to the Global / Project / Scene and User Presets Bins that are locations definedby the system or the project / user, it is possible to create presets that are saved with thesource media files, the same way in which the Marry grades work. This is useful since presetscan be used in any project that uses the same media files. When you navigate to a shot inthe timeline, the Presets Bin for Marry shows you, for the current menu, the available presetsfor the current source footage.

User-based Cursor size

In the User Management / Display & Interface, there is a new option to set the cursor type:

■ Normal (default: this is the regular yellow cross-hair cursor)

■ Micro: a one pixel size cursor

■ Transparent: invisible cursor

Cursor Type user option

You can toggle between the three cursor type with the CTRL + Enter key.

Flame Premium: New Location for Full / Half Scans

When creating a project in Flame Premium with the "Create Lustre project" option, thelocation of the Scans Full / Scans Half is set to the following location:

<current Standard FS volume>/<project name>/

Lustre stores the following in this location:■ Transcoded media

■ Marry Grade for Wiretap / Wiretap Gateway media files

■ Presets for Wiretap / Wiretap Gateway media files

■ Degrain cache


Format Support

Transcode / Format user interface modifications

To better present the new options for the Red 4.0 SDK, the Debayering options located in theFormat menu have been re-arranged.

Format / Debayering options

Note: the Transcoded Shot Media options are now in the Output menu.

Red 4.0 SDK support

The Wiretap Gateway 2012 Extension 1 server now supports the new Red SDK version 4 andbrings with it a number of new features.

ISO 12800 value

A new 12800 ISO value is now available in the Colour menu / ISO list.

R3D Bit Depth selector

It is now possible to select the working bit depth when working with R3D files (regular orHDRx files):■ 12-bit (Default)

■ 16 bit fp: 16-bit floating point

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When selecting the 16 bit fp option, the Gamma Curve setting is automatically set to SceneLinear (16bit fp) to keep it scene-referred and not prematurely tone-map the floating-pointimage.

R3D transcoding to OpenEXR files

It is now possible to select OpenEXR as a transcoding file format (in the Output menu). Theresulting transcoded media will be 16-bit half float RGB files.

HDRx support

The Red Epic camera is able to record R3D files in two modes: standard and HDRx. TheHDRx option allows the recording of two exposures as video tracks within the same R3Dfile. When you import HDRx footage in Lustre, there are new settings in the Format menuto select how you want to use the two exposures.

Format / HDRx Settings■ Primary Exposure: this is the main exposure of the R3D file

■ Highlight Exposure: this is the second exposure of the R3D file.

■ Blend Exposure: this option allows you to blend the values between the two exposuresto create a single image for grading. This option uses both video tracks of their R3D file.Playback performance may be altered.

■ High Dynamic Range: this option converts the two exposures into a 16-bit half-floatimage. When this option is selected, the Debayering / Bit Depth option is automaticallyset to 16-bit fp and the Gamma Curve setting is set to Scene Linear (16bit fp).

12 | Chapter 3 Format Support

HDRx High Dynamic Range Options

■ Blend: Set a value to blend the two exposures of a RED HDRx clip.With HDRx Settingsset to Blend Exposures, this field behaves like the blend in REDCINE-X. The blendoperation is a blend of the two exposures: -1 shows only the Highlight (X frame), 1 onlythe Primary (A Frame), and 0 a 50-50 mix. With HDRx Settings set to High DynamicRange, Blend also attenuates the artefacts created by scene motions. Set to 1 unless youare troubleshooting motion artefacts.

■ Exposure Offset: Set how much greater the Primary exposure was compared to theHighlight exposure, in units of stops. Only available when HDRx Settings box is set toHigh Dynamic Range. The Exposure Offset should be set to match the setting on thecamera for how many stops separate the Primary and Highlight tracks. This is typically2 or 3 stops. Enter the same value used to record the footage or you will get bad results.

■ Highlight Threshold: Set the threshold when pixels from the Highlight exposure areused instead of the over-exposed pixels from the Primary exposure. Only available whenHDRx Settings box is set to High Dynamic Range. Set Highlight Threshold last becauseimport options such as ISO or FLUT lighten or darken the image. Too high and you getclipping (often including a magenta-coloured cast), too low and the midtones andshadows have noise leaking in from the Highlight track.

A Technique to Set Highlight Threshold

1 Go to the Colour > Grading menu.

Format Support | 13

2 Grade the image up and down. You want to exaggerate this grading to check whetherthere is either any clipping in the highlights or noise in the midtones (and shadows).

3 In the Image > Transcode menu, adjust Highlight Threshold.

Regarding the Grading of HDRx Footage

In the High Dynamic Range mode, Lustre imports HDRx footage as half-float (aka 16 fp).The same considerations apply as when reading OpenEXR files.■ Put in place an output LUT to tone-map the values (i.e. convert from HDR to video).

■ Keep in mind that Lustre grades floating-point values by converting them to a logarithmicformat. This allows the grading tools to work much as you are used to when grading logfilm scans. Control the scene-linear to log conversion using the Float Conversion LUT(Project Settings > Calibration).

■ Try using the log_default as the Float Conversion LUT and the log_default_tonemap asyour Render-->Output LUT as a starting point. This should provide a grading experiencesimilar to grading log film scans through a print-film emulation LUT.

As with OpenEXR, RED HDRx images (in High Dynamic Range mode) come into Lustrewith values above the normal grading range. For example, with 10-bit film scans 1023 comesin at the top of the normal grading range. If you turn your viewing LUT off the full gradingrange is mapped across the black-to-white on your projector, and you can see all thehighlights detail on the negative. However, internally Lustre has a much larger workingrange and as with OpenEXR, HDRx images may start out with highlight detail that is outsidethe usual grading range. As such, even if you turn your tone-map off, you may still need togo into the Colour > Grading menu and grade down the image to see all of the highlightinformation available. So even though it may not be initially visible, keep in mind thatthere may be a vast amount of information in the Lustre working space that is available tograde via secondaries and al.

Red Flip metadata

When working with a Stereoscopic camera rig where the camera orientation has beenmodified to capture footage, it is possible to set the orientation of the image. WiretapGateway is able to read this data and automatically present the image in the right orientation.Note that any timeline created with media files with this metadata prior to Wiretap GatewayServer 2012 Extension 1will not show the media orientation based on this metadata. Thismay create different results than previous versions.


About RMD files generated by REDCINE-X

The latest version of REDCINE-X is able to generate RMD (Red Metadata) file with the HDRxBlend Exposure value. This data is not yet supported in Wiretap Gateway 2012 Extension1.

Multi-Channel OpenEXR Import

It is now possible to import multi-channel OpenEXR files from Wiretap Gateway and seethe imported clips as multiple channels. You can then use the various channels for secondarycolor grading.

Note: Since OpenEXR is a very flexible file format, there are some limitations regardingwhat is supported by Lustre:■ Only 16-bit half-float RGB OpenEXR files are supported.

■ Mattes encoded in an OpenEXR file have to be RGB media. If not, the OpenEXR file willnot be visible in the Media Browser or the non-RGB channels will display a red 'X' inthe viewer.

■ Channels must have the same resolution.

■ OpenEXR playback requires fast CPUs and you may need to enable multiple WiretapGateway slaves to achieve acceptable playback performance. Also, when working withmultiple channels, real-time playback may not be available and you may need to generateproxy media. In this case, make sure to enable the Project / Network Rendering / Wiretap/ Local Proxy to be able to generate proxies for content coming from the Wiretap /Wiretap Gateway server.

Multi-Channel PSD Import

When you import Photoshop files (PSD), Lustre creates a multi-channel clip. You can usethe the mattes for Secondary color grading.

OpenEXR Rendering

It is now possible to select OpenEXR as an output format for rendering. The resulting filesare encoded as single channel RGB OpenEXR 16-bit half float.

Note: The ability to render OpenEXR files is only available on the Linux version of Lustre.Also, it is not possible to render OpenEXR files through Browsed.

AVC-HD Import

It is now possible to import AVC-HD content in Lustre through Wiretap Gateway. Videoand audio media, and timecode tracks are supported.

Format Support | 15

http://wikihelp.autodesk.com/Creative_Finishing/enu/2012/Help/05_Installation_Guides/WiretapCentral_and_Wiretap_Gateway_Installation_Guide/0012-Installi12/0033-Configur33/0037-Setting_37

http://wikihelp.autodesk.com/Creative_Finishing/enu/2012/Help/05_Installation_Guides/WiretapCentral_and_Wiretap_Gateway_Installation_Guide/0012-Installi12/0033-Configur33/0037-Setting_37

Note: Only PCM audio is supported. Some cameras can record AC-3 audio, but this formatis not supported. Only the video portion of AVC-HD media with AC-3 audio content isaccessible from the application.

GoPro HD MP4 files support

GoPro camera records H.264 files with an "mp4" extension. Files from this camera are nowsupported by Wiretap Gateway Server.

The following frame rates and resolution are now supported (with audio):■ 1920x1080 (16x9, 29.97p and 25p)

■ 1280 x 960 (4x3, 29.97, 25p)

■ 1280 x 720 (16x9, 25p, 29.97p & 59.94p)

■ 848x480 (16x9, 25p, 29.97p & 59.94p)

Due to limitation in the GoPro 59.94p files, the application assigns to those files the timingof the project. So if your project is set at 30fps, 59.94 GoPro files are imported at 30fps. Toplay back 59.94 GoPro files correctly, you must be using a 59.94 project.


Transcode

Project-based Transcode Settings

When working with media files coming from digital cameras such as Red One, Red Epic, ArriD-21 and Arri Alexa, it can be useful to transcode the media into a file format that is moreoptimized for interactive playback and grading. Lustre 2012 Extension 1 introduces newtranscode options to ease configuration and support re-conform workflows.

Backburner Manager default is "localhost"

When you install Lustre, the default value for Backburner Manager in the init.config file isset to "localhost". This means that your local Linux workstation is automatically configuredto transcode R3D or ARRIRAW. If you are using remote servers that are not running WiretapGateway, the Backburner Manager will take care of translating the media location, avoidingunnecessary modification of configuration files. For Lustre on Windows configuration, youstill need to configure a remote Backburner Manager.

Note: you still need to define the Path Translation settings in the init.config file for remoterendering with Burn.

Transcode Host in the init.config File

It is now possible to define the default Wiretap Gateway server to use when transcoding R3Dor ARRIRAW media. By default, "localhost" is used. For Lustre on Windows configuration,you still need to configure a remote Wiretap Gateway Server.

Project-based Transcode Location

When creating a new project, you can define the location where transcoded media is generated.Since the init.config file contains the Transcode Host value, the Transcode Full Home andthe Transcode Half Home are automatically filled (the default location is located in Scans Fulland Half Home). This location can be edited but has to be available through the WiretapGateway server defined in the init.config file.

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About Versioning Transcode Settings

Lustre 2012 Extension 1 introduces a new workflow for R3D and ARRIRAW files.

In previous versions of Lustre, transcoding the same shot with different transcode settingsoverwrote the transcoded media files.

In Lustre 2012 Extension 1, you can now:■ Update the transcode settings in a shot and share those settings with all shots that come

from the same source clip.

■ Share the transcoded media with other timelines that use the same shot, which eliminatesthe need to transcode footage that has already been transcoded.

■ Create versions of transcode settings to match the characteristics of a particular shot.

All of the transcode settings and their versions are stored in the Library source clip. Whenyou change the transcode settings for a shot, all shots from the source clip are updated withthe new settings. You can use the same transcode setting for shots from the same sourceclip or use versions to create different settings for different shots.

Creating Versions of Transcode Settings

The default version of the transcode settings is labeled "Transcode00".

The "Transcode00" Transcode settings come from the camera as stored in the metadata ofthe R3D/ARRIRAW file. When the camera settings are in use, the Camera button is enabledin the Image/Transcode menu.

You can edit or create a new version of the transcode settings:■ Edit the existing transcode settings to update all shots that use that version with the

new settings.

■ Create a new version of the transcode settings to adapt to the requirements of the shotyou are working on, without changing other shots.

If you want to create a new version, click New and create the new version before you startediting the settings. Otherwise, you will edit the current version of settings and all shotsthat are using it.

18 | Chapter 4 Transcode

All versions are stored with the Library source clip. However, each shot can use its ownversion of the transcode settings.

Use the Transcode Version menu in the Image/Transcode/Output menu to create multipleversions of transcode settings:■ New: create a new version of the transcode settings. You can use the Comment field to

add a comment (similar to Grade comment).

■ Save: save the current version of the transcode settings. The Library source clip is updated.

■ Load: load the selected Transcode Version from the version list to the shot.

■ Delete: delete the selected Transcode Version. Removing a version does not remove theactual media on the storage.

Updated Image/Transcode/Output menu

Note: It is only possible to transcode R3D & ARRIRAW files. If you work with different fileformats, the Transcode menu is available, but cannot be used. The Transcode button isgrayed-out.

Shot-based Transcode Location

When R3D or ARRIRAW files are transcoded, you can see the actual location of the transcodedmedia in the Transcoded Hires and Transcoded Proxy fields from the Image/Transcode/Outputmenu. From this location, you can change the Wiretap Gateway clip referencing thetranscoded media. This can be useful in the case where transcoding tasks have been generatedby another workstation. This field is updated when you select a different version in theTranscode Version list.

Cut Files and Transcode Settings

The timeline file (.cut) stores all the transcode settings. This means you can share the .cutfile with a different workstation and still preserve all the transcode settings.

It is possible to use a timeline (cut file) from previous versions of Lustre in Lustre 2012Extension 1. Old timelines will be converted to the new 2012 Extension 1 format and eachR3D or ARRIRAW shot will have a Transcode00 version containing the Transcode settingsas defined in the original cut file.

Transcode | 19

Transcoding multiple segments of the same source clip

It is now possible to transcode multiple segments of the same source clip and have theLibrary clip updated. This means that reloading the original source clip from Library mayshow transcoded media and red X (i.e. red X indicates segments that are not transcoded).

Transcoding and Shot Media status

In previous versions of Lustre, when sending transcoding tasks to Backburner Manager, thestate of the Shot Media was automatically set to Transcoded, showing you the transcodedmedia (or red X if the media was not available). In 2012 extension 1, this is no longer thecase and you have to manually enable the Transcoded state for the shots you transcoded.You can use the Selector to set this state on a selection of shots.

20 | Chapter 4 Transcode

User Interface

Message Bar

Lustre 2012 Extension 1 introduces a Message Bar so that you can view errors and messages.The message bar shows the following■ Confirmation message (i.e. overwrite, delete, etc).

■ Status (i.e. grade saving, EDL assembly status, etc).

When a message requiring user attention is presented on screen, you have two options:■ Confirm: click on the Confirm button or press the Enter key (keyboard or keypad).

■ Abort: click on the Abort button, press the Esc key or click anywhere on the user interfaceto Abort an action.

From the Autodesk Control Surface (ACS), use these keys to interact with the Message Bar:■ Enter (Navigation panel): Confirm

■ Alt (or any key): Abort

Message History

Located in the Setup / Settings menu, the Message History displays all messages (errors,warnings and notices) and internal messages from the Logger.

Note: It is possible to see the content of the logger in the "lustre.log" file located in the homefolder of the application (inside the log folder).

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Message History

History

Logger

Horizontal scroll bar for LUT list

It is now possible to scroll horizontally to view the complete name of LUTs in the followingmenus:■ Image/InputLUT

■ Setup/Calibrate

■ Render/Output

■ Project/Rendering

22 | Chapter 5 User Interface

Input LUT horizontal scroll bar

User Interface | 23

Grading Tools

Tools Locking

It is now possible to lock a tool or part of a tool to avoid unwanted modifications whilegrading in Lustre. The lock state is saved in the Grade file and in the Grade Bin file. Thefollowing actions are protected:■ Reset & Reset All

■ Copy / Paste grade

■ Grade Bin loading

Since the lock state is saved in the Grade file, reloading a grade that uses the same cut as theone currently loaded applies the lock state based on the data of the grade.

There are 2 ways to lock a tool:■ Soft Lock: to protect a given tool from being reset or modified when copying over a grade

(i.e. Grade bin load, drag and drop grade, etc). The tool is still editable from the userinterface or from the control panel.

■ Hard Lock: similar to a soft lock, but the tool cannot be edited. You must unlock the toolto modify the value.

To soft-lock a tool:

■ On the keyboard, press the CTRL and ALT keys and click on the tool you want to lock. Ared outline will be displayed on the locked tool.

Soft Locked parameter

To hard-lock a tool:

■ On the keyboard, press the CTRL, ALT and SHIFT keys and click on the tool you want tolock. The locked button or value field is tinted red. To unlock the tool or menu, just holdthe CTRL, ALT and SHIFT keys and click on the locked tool

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Hard Locked parameter

Note: If you want to convert a Soft Locked tool to a Hard Lock tool, it is not necessary tounlock the tool first. Just use the combination of keys and click on the button or field toconvert.

The following tools can be locked:

You can lock the entire Image|Reposition menu, or you can individually lock the followingoptions:■ Reframe options (Off, Reposition, Racking, Convergence)

■ Method (Fast, Quality, Custom)

■ Orientation (Flip, Flop)

■ Reposition (Horizontal, Vertical, Scale, Aspect, Rotate)

■ Grading/Secondaries (Any secondary can be locked)

Secondaries Soft & Hard Lock

■ Effects (any Effects slot can be locked)

26 | Chapter 6 Grading Tools

Plugins Soft & Hard Lock

Grade Bin Reference Image Saved in PNG Format

The high resolution reference image generated when saving a Grade bin preset is now savedin the PNG file format and can be opened by any image preview application.

Grading Tools | 27

VTR I/O

HDMI Output on AJA Kona 3G

The HDMI output of the AJA Kona 3G card is now available when an HDMI compatible AJAvideo raster is selected. That means that if you disable GFX SDI, you can monitor the outputof Lustre through the HDMI output (single link only).

Note: There is a slight delay between the DVI monitor and the AJA HDMI output. Also, makesure to enable GPU when monitoring the HDMI output.

The following rasters are available:■ NTSC

■ PAL

■ 720/50p

■ 720/5994p

■ 720/60p

■ 1080/2397p

■ 1080/24p

■ 1080/25p

■ 1080/2997p

■ 1080/30p

■ 1080/5994i

■ 1080/60i

Note: HDMI output is not available when a PsF raster is selected.

Capture from VTR SDI A / SDI B Link

When working with Dual Link Stereoscopic VTR sources, you can select which SDI input tocapture from the Capture menu (AJA-based system only):■ Select the AJA SDI raster (i.e. HD 1080 PsF (23.98).

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■ From the Input selector pop-up, select:** Single: to capture from SDI link A** Single (B):to capture from SDI link B

■ Prior to a TC or EDL capture, make sure to set in the Capture field the name of the stereoeye you are capturing (i.e. capture/left or capture/right).

■ Capture the footage and make sure to change the destination folder prior to capturingthe other stereo eye to avoid over-writing media files

Note: The SDI 1 or SDI 2 options are not available in the Playout menu.

Capture Input Selector

Shot-based Source Timecode Offset for Telecine-style Playout

Very often, colorists need to provide multiple versions of the same shot with different gradesand deliver Telecine-style tapes for editorial and finishing. To make this workflow easierand to avoid confusion, it is now possible to add an offset to the source timecode of eachshot. This updated timecode will then be used for Telecine-style playout instead of theoriginal timecode.

Note: The source timecode offset is saved in the cut file.

To add a source timecode offset to a shot:■ Park on the shot you want to modify the source timecode for Telecine-style playout.

■ Go to Editing / Playout menu and set the value in the Shot Offset timecode field.

30 | Chapter 7 VTR I/O

Shot Offset timecode field

■ Save the cut.

■ Enable Telecine option and perform the playout.

The modified source timecode will also be used for LTC chase, VTR Emulation and renderingof the Video Info (i.e. timecode burn-in) when Telecine style playout option is enabled.

Telecine-style Playout Pre-roll / Post-roll

When you enable the Telecine-style playout option, black shots are added before and aftereach shot to provide pre and post-roll. These black segments are not seen in the Storyboardand in the timeline.

VTR I/O | 31

Interoperability withSmoke & Flame 2012extension 1

Source Grading Workflow

Many workflows require working in parallel between Smoke/Flame and Lustre. For betterflexibility, grading the source footage prior to conforming is ideal, but may not be an optionfor fast-paced projects. Grading source footage post conform requires removing all soft effectsand unsupported transitions, but this manual process can be cumbersome.

To accommodate parallel workflows, we introduce the source grading workflow.

With the source grading workflow, you can:■ Import a timeline into Lustre, without having to render soft effects or transitions,

■ Grade the timeline based on the editorial decisions to date, and then

■ Send the timeline back to Smoke/Flame for further refinement, preserving soft effects andtransitions.

Source Grading Import Option

Located in the media browser of Lustre, the Source Grading option defines how a timelinefrom Smoke/Flame is imported in Lustre.

Source Grading option

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When the Source Grading option is:■ Disabled: Unrendered soft effects and unsupported transitions appear as black frames

when they are imported into Lustre. If you have rendered all your soft effects andtransitions, you can import your timeline with this option disabled and you will see thefinal, rendered media from Smoke/Flame.

■ Enabled: Lustre imports all soft effects and transitions, but shows the source mediainstead of the media generated by the soft effects and transitions. While using this sourcematerial, Lustre preserves all the information (parameters, animation, etc) about the softeffects and transitions. The colorist can then grade in the timeline context (time andposition on video tracks and layers) and render back to a Smoke/Flame library. The newlycreated timeline uses the graded media from Lustre, but also contains the original softeffects and transitions.

Note: The state of the Source Grading option is saved in the Context file.

About long-form timelines and compressed media

To avoid long timeline loading time, it is recommended to consolidate the timeline thatyou want to use for grading prior to importing it into Lustre. Projects shot with digitalcameras such as Red, AVC-HD camcorders, etc., tend to have very long source clips. BecauseLustre has access to all these frames, loading timelines and rendering to Smoke/Flame cliplibraries will take more time and generate unnecessary media files. It is a good practice topreserve at least 10 frames of handles if minor editorial tweaks are planned post colourgrading.

Supported Soft Effects and Transitions

All soft effects are preserved and recreated after Lustre renders to Smoke/Flame Library.

In the case of a soft timewarp that is not long enough to cover the duration of the segment(for example, a slow-motion effect), Lustre preserves the duration of the segment but displaysa red "X" on missing frames. This is normal because you are grading the sources, which arenot being affected by the timewarp animation curve.

The following transitions created in Smoke/Flame timeline are preserved and recreated afterLustre renders to Smoke & Flame Library:■ Dissolve (with keyframe animation, as Lustre 2012 release)

■ Axis

■ Wipe

■ Custom Transition. In this case, the clip used for the transition will be available forLustre as a shot. Rendering back to Smoke/Flame will also show a shot and not atransition. Ideally, Custom Transitions should be created after source media is gradedand replaced in Smoke/Flame by a dissolve.

34 | Chapter 8 Interoperability with Smoke & Flame 2012 extension 1

Note: Wipe and Axis transitions are replaced with a dissolve in Lustre while grading, butthe resulting timeline in Smoke will show the original transitions. For these transitions, youwill see a special icon in Lustre. You will not be able to edit the dissolve (from the Dissolvemenu or from the Editing menu).

Un-supported transition icon

Original timeline created in Smoke

Interoperability with Smoke & Flame 2012 extension 1 | 35

Timeline loaded in Lustre with the Source Grading option


Lustre timeline rendered to Smoke Library

Do Not Edit the Timeline Structure

It is not recommended to modify the timeline structure imported in Source Grading modebecause every shot may contain data invisible to the Lustre colorist. If you edit the timeline(for example, trim, slip, and slide) or copy shots with soft effects or unsupported transitions,these changes will be replicated when rendering back to Smoke/Flame Library. Timelinemodifications may produce unexpected results.

Containers and Matte Containers in Source Grading mode

Containers, Matte Containers and their content are available when working in source gradingmode. Source media of shots that are used with soft effects and unsupported transitions isavailable just like any segment. If you plan to use a matte container to store the matte thatwill be used for grading, use a soft axis in Smoke to marry the matte(s) with the shot andset the matte status to "Off" (located in the Soft Axis / Matte menu of the mini editor) toavoid getting a composite.

Support for GapFX

A GapFX is a timeline segment that has soft effects that affect the timeline segments locatedon the layers below it.


It is now possible to import timelines from Smoke/Flame that contain GapFX.

GapFX segments are displayed in Lustre as a Gap with a "SoftFX" icon and cannot be gradedsince they are virtual segments. When the timeline is rendered to a Smoke/Flame clip library(in Source Grade render mode), the original soft effects are preserved.

GapFX in Lustre

Original Smoke timeline with GapFX


Lustre timeline grading (Source Grade mode)


Lustre rendered timeline in Smoke (Source Grade render mode) with Soft Effects and Transitions

Rendering to Smoke/Flame

To be able to preserve soft effects and un-supported transitions when rendering to theSmoke/Flame Library, make sure to use the Source Grade render mode. If you need handles,make sure to enable the Heads & Tails option.

Use cases

Here are some example of workflows that are enabled with the source grading workflow:■ FCP XML/Avid AAF conform to Lustre: conforming a Final Cut Pro XML or an AAF file

from Avid editors allows you to build a timeline that may contain soft effects and varioustype of transitions. Lustre can use the conformed timeline without the Smoke/Flameartists having to first remove the effects.

■ Mixed resolution conform: Smoke and Flame applies a soft resize to media that does notmatch the resolution of the timeline. With the Source Grading workflow, the Lustrecolorist can work with the media files at its native resolution. If the source media is froma REDONE, RED EPIC or ARRI camera and is imported from Wiretap Gateway, Lustrehas access to all transcode settings. This allows the colorist to modify the format-basedsettings (like debayering, color space, etc) and provide Smoke/Flame with a timeline thatuses the higher quality while preserving all the soft effects and unsupported transitions.


■ Unmanaged source media replacement: when Lustre renders timelines to Smoke/Flameusing the Wiretap Render option*, media files are seen by Smoke/Flame as soft importedmedia. That means that the source clips have a direct link to the media files. If Lustrerenders over the files, all clips using this media will be updated.

*This option requires that you define the Lustre project render location as a shared location(local or network storage) outside of a standard filesystem or stone filesystem, and adestination clip library in the Wiretap render library field.

Note: Rendering over shared media files, even if powerful, can lead to confusion! Be awareof what you are doing!

Limitations

■ When browsing a Smoke/Flame Library from Lustre, the thumbnail of the source clip isblack if there is an un-rendered soft effects or an un-supported transitions applied onthe active frame of the timeline.

■ BFX segments, BFX on gaps, and clips from modules are shown as source media in Lustre.That is, the source media of these shots is not available and grading is done "post" effect.Make sure to render any BFX segments prior importing the Smoke/Flame timeline inLustre.

■ When working with a mixed resolution timeline, make sure the first shot of the timelinehas the same resolution as the timeline. If not, Lustre creates a timeline that has theresolution of the first shot and all other shots that have a different resolution will get asoft resize effect in Smoke/Flame. As a workaround, you can insert a colour source clipin Smoke/Flame at the start of the timeline.


Miscellaneous

Timeline: Drop point for mattes inserted in a matte container or a multi-channelsegment

When you drag and drop a matte clip from the Library to a timeline segment to create amulti-channel clip or to add a matte to a matte container, the drop point is set to the firstframe of the shot inside the multi-channel clip/matte container.■ CTRL drag and drop: inserts the matte clip at the first frame of the shot located inside the

multi-channel clip/matte container

■ CTRL+ALT drag and drop: inserts the matte clip at the first frame of the timeline segment

If you work with scene-detected footage and want to work with matte containers, use theCTRL+ALT method to add matte clip(s) to matte containers.

Stereoscopy: Support for interlaced footage in stereoscopic 3D projects

It is now possible to use Interlaced footage in a Stereoscopic 3D project. In Stereoscopic 3Dprojects, since the F1/F2 buttons are not available (i.e. they are replaced by the Left and Rightselector), so you must press the CTRL key and click on the Field 1 or Field 2 button locatedin the Setup/Grade menu to change the current field.

dl_create_clip: Command line tool to create a .clip file

Use the command line tool, dl_create_clip, to generate a .clip outside of the application.

With dl_create_clip, you can:■ Build multi-channel clips from multiple media files.

■ Link one or more mattes to a clip.

■ Link an audio file to a video file.

■ Create multi-channel clips from CG render passes.

The "dl_create_clip" tool is located in the following folder:

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/usr/discreet/mio/current

After you generate the .clip file, do one of the following:■ Put the .clip in the Library folder of the current scene

■ Browse through Wiretap Gateway, to the location of the .clip file and import the clip tothe Library. This will create a local copy of the clip.

Wiretap Gateway: Restart button

It is now possible to restart a local Wiretap Gateway Server from within Lustre. Use theGateway Restart button located in the Media Browser. (This button is only available on theLinux version of Lustre.)

Note: it is not possible to restart a remote Wiretap Gateway Server from a Lustre workstation.

44 | Chapter 9 Miscellaneous

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