Use Dropbox to Remotely Monitor After Effects Renders

Ever since I’ve had a computer, I’ve had long render times. Whether it was ray-traced checkerboard spheres on my Amiga 1000 or The Last Birthday Card on my blue G3 tower, I’ve always managed to find ways to keep my computer busy while I’m off pursuing other hobbies, such as sleeping, long walks on the beach, or (most likely) staring at the screen chanting “faster, faster!”

On those rare occasions that I decide to leave the computer alone with its thoughts, I sometimes wish I had a way to check in on the render progress from afar. Adobe After Effects ships with a handy script called “Render and Email” that can send you a simple email to announce the completion of a render. If you have push email on your phone, or know how to send emails that arrive as text messages (here’s how), this can be a suave way to leave your render cooking with the confidence that you’ll know precisely when to return from your three martini lunch.

But that’s not quite the same as an actual visual confirmation of a successful render. In a world of iPhones, augmented reality, and non-fat yogurt that actually tastes good, we deserve more.

I recently figured out a couple of nifty ways to get remote, visual updates on my epic After Effects renders, thanks to the insanely useful and free service known as Dropbox, AKA What Apple’s iDisk Should Have Been. Dropbox is a directory on your hard drive that is constantly syncing in the background to a remote server. You can share subfolders with specific people or groups of people (whether they be on Mac, Windows, or Linux), and these folders truly are shared in the sense that anyone to whom you grant access can add, remove, or edit files therein. I use it to collaborate with other writers, with my post-production crews, and even to remotely add photos to the screen saver loop on my parent’s iMac.

Did I mention that all of this is free, for up to 2GB of storage?

Dropbox also offers a free iPhone app [iTunes link] that allows browsing your Dropbox folders and limited file viewing. Two of the file types that can be viewed on the iPhone screen are JPEG and Quicktime.

You can set up After Effects to render to your Dropbox, and view the results on your iPhone.

Of course, it’s not exactly that simple. There’s a limit to the size of file that can be viewed on the iPhone, and you wouldn’t want to be pulling 2K DPX files across AT&T’s network even if you could do something with them once you got them. So there are a couple of things you can do to streamline the process. Unfortunately it’s a bit of work to set up.

The simplest thing to do is to configure your Render Queue item to have two Output Modules: the one you were planning on rendering anyway, and a second one set up as a JPEG sequence with the “Stretch” option enabled to scale the images down to an iPhone-friendly size. It’s this second Output Module that you’ll render to your Dropbox folder. Every time a frame completes, an iPhone-optimized JPEG of it will be automatically uploaded to your secure Dropbox storage.

The result is that every time you open the Dropbox app on your iPhone, you not only see how many frames have been rendered, but you can visually flip through the frames themselves. Sweet!

Of course, what you can’t do is view the animation at speed, so that’s where the second option comes into play. You can create a third Output Module that writes out a small (not more than 480 pixels wide or 360 pixels tall) H.264 Quicktime movie.

Now you can both check your frames as they finish, and watch the end result at speed.

If you configure that Render and Email script and use it to launch your render, you’ll also have a push notification that the render is complete.

It’s not quite the same thing as full administering your render from your phone, but it’s still pretty cool.

Update on Tuesday, December 8, 2009 at 1:59PM by Stu

Dropbox also has a general mobile-optimized site for users of other web-enabled phones: http://m.dropbox.com.

Passing the Linear Torch

I used to show you weird crap like this all the time

Back in the day I blogged a lot about how compositing and rendering computer graphics in “linear light.” a color space in which pixel values equate to light intensities, can produce more realistic results, cure some artifacts, and eliminate the need for clever hacks to emulate natural phenomena. Along with Brendan Bolles, who worked with me at The Orphanage at the time, I created eLin, a system of plug-ins that allowed linear-light compositing in Adobe After Effects 6 (at the mild expense of your sanity). I also created macros for using the eLin color model in Shake and Fusion. Along the way I evangelized an end to the use of the term linear to describe images with a baked-in gamma correction.

Then Adobe released After Effects 7.0, which for the first time featured a 32-bit floating point mode, along with the beginnings of ICC color management, which could be used to semi-automate a linear-light workflow. The process was not exactly self-explanatory though, so I wrote a series of articles (1, 2, 3, 4, 5, 6) on how one might go about it.

Then I rambled endlessly on fxguide about this, and in the processes managed to cast a geek spell on Mike Seymour and John Montgomery, who republished my articles on their fine site with my blessing.

This week Mike interviewed Håkan “MasterZap” Andersson of Mental Images about the state of linear workflows today on that same fxguide podcast.

Which is so very awesome, because I don’t want to talk about it anymore.

It’s just no fun going around telling people “Oh, so you put one layer over another in After Effects? Yeah, you’re doing it wrong.” Or “Oh, you launched your 3D application and rendered a teapot? Yeah, you’re totally doing it wrong.”

You are doing it wrong. And I spent a good few years trying to explain why. But now I don’t have to, because Mike and MasterZap had a great conversation about it, and nailed it, and despite the nice things they said about ProLost you should listen to their chat instead of reading my crusty old posts on the subject.

Because it has gotten much, much simpler since then.

For example, there’s Nuke. Nuke makes it hard to do anything but work in linear color space. Brings a tear to my eye.

And the color management stuff in After Effects has matured to the point that its nearly usable by mortal men.

Since I’ve seen a lot of recent traffic on those crusty old posts, here’s my linear-light swan song: a super brief update on how to do it in AE CS4:

In your Project Settings, select 32 bpc mode, choose sRGB as your color space, and check the Linearize Working Space option:


When importing video footage, use the Color Management tab in Interpret Footage > Main to assign a color profile of sRGB to your footage:


Composite your brains out (not pictured).

When rendering to a video-space file, use the Color Management tab in your Output Module Settings to convert to sRGB on render:

That’s the how. For the why, well, those crusty old articles could possibly help with that, especially this one on color correction in linear float, and this one on when not to use linear color space. Part 6 is still pretty much accurate in describing how to extract a linear HDR image from a single raw file using Adobe Camera Raw importer in After Effects, and this article covers the basics fairly well, although you should ignore all the specifics about the Cineon Emulation mode, which never should have existed. This little bit of evangelism is still a good read.

But the ultimate why answer is, and has been for a while now, within the pages of a book you should have anyway: Adobe After Effects CS4 Visual Effects and Compositing Studio Techniques (deep breath). Brendan Bolles guest-authored a chapter on linear light workflow, and not only does he explain it well, he gives many visual examples. And unlike me, Mark keeps his book up-to-date, so Brendan’s evergreen concepts are linked directly to the recent innovations in After Effects’s color manglement.

OK, that’s it. Let us never speak of this again.

Update on Wednesday, September 30, 2009 at 2:09PM by Stu

I can’t believe I wrote all that without once linking to the official Adobe whitepaper on Color Managed workflows in Adobe After Effects CS4. It’s a great write-up, super detailed, and accurate in every way. Further proof that my work here is done.

fxphd July09 Term, AKA Show You My O-Week

Registration is now open for the new July09 Term of fxphd, the most in-depth visual effects training you can find. This term I’m joining Mike Seymour in teaching a course on DSLR cinematography, for which Mike, John Montgomery, and I traveled to Japan to train our lenses on some of the most tantalizing and notoriously film-unfriendly settings on the planet.

The double-chin is due to either the awkward pose or all the amazing food we ate—possibly both.

Here you see me hand-holding my Canon 5D Mark II with Mike’s Canon 70–200 f/2.8L IS in Tokyo’s teen fashion capital, Harajuku. This ill-advised activity is made somewhat more tolerable by the funky support rig I’ve created by bending my Gorillapod GP8 (the badass metal one — coolest thing I’ve added to my kit in months) into an outrigger that lets me support some of the lens’s weight with my focus-pulling arm.

Mike has a couple of updates (first, second) on his Dean’s Blog, and there’s a terrific “o-week” video (right-click to download) that provides a sneak peek at some of what we shot and how we shot it, as well as teasers for the amazing array of other classes in the term.

If you can’t tell, I’m a (somewhat biased) fan of fxphd. Mike, John, and their worldwide team of professors give you the good stuff, the likes of which I’ve not seen anywhere else. If you want to learn visual effects from real artists working in the field, fxphd is the place to do it.

Complete course listing for the July09 term here.

Venomocity

Last year I had the great fun of working with the Phoenix-based agency Riester on a series of three anti-smoking spots for the Arizona Bureau of Tobacco Education and Prevention. The finished spots were held up briefly, but finally airing in Arizona. Here are all three—click through to view them in fancy YouTube HD (link is below and to the right of the movie)!

You may notice that some of the footage appears to be hand-cranked. In fact, the entire spot was shot on the Panavision Genesis, a camera that quite prominently lacks a hand crank. So my DP (the brilliant Carlos Veron) and I shot the hand-crank sections at an even 50 fps (the Genesis's max), and then editor Gregory Nussbaum (of Pictures in a Row) and I ran the shots through the very same hand-crank After Effects project that I included in The DV Rebel's Guide.

Of course, some of the hand-cranked shots contain visual effects (supervised by Ryan Tudhope). As I told the crew at the kickoff meeting, it's not a Stu job unless we're doing something annoying with time. Ryan's animators actually worked at 50 fps on the original plate, and then rendered only the frames called for by the hand-crank retiming curve. This allowed them to be as surprised and annoyed by the hand-crank effect as the live action crew!

By shooting at 50 fps, we got smoother 24p results from the hand-crank effect, as it had more frames to pull from. You can do the same if your camera has a 60p or 60i mode (50 for PAL), as most do. All of this is explained in The Guide.

Carlos also shot wide-open much of the time. The combination of Super35 sensor, overcranking, and wide dynamic range (since we'd be shooting outdoors in direct sun) meant that the Genesis was really the only digital camera I felt we could use for this campaign. We almost didn't get one, which would have meant resorting to, gasp, film!

Orphanage colorist Aaron Rhodes graded the spots in Film Master, creating LUTs that the VFX artists used to preview their work with propper color. We used much the same workflow as we did on The Spirit.

These spots have everything I love, performance, cinematography, and a worthwhile message. I'm proud of them and delighted that I can finally share them with you. You can also watch them in their native habitat on the very cool web site developed to anchor the campaign: venomocity.com.