Subtitles of the Movie

In this movie, we will cover the new features of Shake 4. In Shake 4, all the tools we need to create high end compositing and visual effects are at our fingertips. With this new version we can more seamlessly integrate 2D and 3D elements, as well as work more effortlessly with editing programs. Here's how. Shake 4 allows for 3D multiplane compositing. This allows us to composite a limitless number of layers in 3D space to combine live action and computer generated imagery. We can now import Maya compatible camera data and animate cameras within Shake directly, as well as seeing real time feedback, thanks to enhanced GPU acceleration. Enhanced Node View: now we can navigate Composite Trees in Shake faster than ever before. We can customize our Node View even further to fit our individual or production needs. Tracking on Roto-shape vertices: tedious hours spent Roto-scoping have been reduced, thanks to Shake's ability to automate Roto-scoping by attaching tracker points to Roto-shape vertices. Attaching trackers to Roto-shape points allows you to create moving mattes and these tracked shapes can be used to make masks or can be used in warping and morphing. 32 bit Key-light and Primatte: the color keyers, keylight, and Primatte now take advantage of 32 bit floating point color processing. 32 bit float film quality can be maintained through the entire compositing process and Open EXR, Fineon, and DPX files can be used for keying without clipping values. True Light Monitor Calibration: film images can be previewed on a computer screen by taking advantage of this feature, which reduces the amount of time spent compositing, as well as reducing the cost of multiple film-outs. Using the Color True-Light Node, various film profiles can be loaded and previsualized or a custom LUT or Look Up Table, can be loaded for a specific production. Improvements have been made in image processing technology as well. Optical Flowbase Tree timing: this new feature means that the slowing of moving footage can more closely resemble slow motion, smoother results thanks to in between frames that are created using optical flow technology. Smooth-cam: automatically stabilize a shot or smooth a bumpy camera move using this feature. Good old optical flow technology allows analysis of the image without a lot of fuss from the user. Auto-align: create a single panoramic image from multiple pictures using Auto-align. Luminance matching and warping are used to stitch pictures together into a seamless panorama. Film and video integration go one step further with Shake 4 because now we have a Final Cut 5 to Shake improved workflow. Film and video integration go one step further with Shake 4 because now we have a Final Cut 5 to Shake improved workflow. We can send cuts and layers directly from a Final Cut timeline directly to Shake, and you end up with a Node View. Open EXR support: this is a 16 bit, floating point format that has a higher dynamic range than the 8-10 bit formats. This means higher quality images using the emerging industry standard image format, Open EXR. Shake 4 now performs better and more efficiently than ever before. Shake 4 is now universal application, so it can run on both Intel and Power PC based Mac systems. Cache Node: now we can selectively cache portions of our compositing tree to memory, freeing up our processors to only update what changes. Why? Improved render and processing time, of course. The new features we just went over make Shake 4 the strongest version of the program yet. Not only do our workflow and computer processing time improve with this new version, but the look of our composites will benefit from these new features as well.