CinePaint Story in 3D World Magazine

CinePaint fans can look for a story in 3D World magazine the end of January

By Robin Rowe

Node-based interface in Open Movie Editor

Node-based interface in Open Movie Editor

BATH, ENGLAND ( 2011/12/19 – I got together on Saturday with 3D Magazine contributing editor Jim Thacker at the Westgate pub in Bath, England. He’d asked to interview me for an upcoming story in 3D World magazine, which is produced by the same publisher as LinuxFormat magazine. Here are some of the questions he asked…

  1. Whats the history of CinePaint’?
  2. What prompted to you restart active development on CinePaint now?
  3. Who’s currently working on the project?
  4. What contributions are they making?
  5. What contact do you have with staff at visual effects studios and are they actively involved in development?
  6. After the current round of bug fixes, what new features are a priority for development?
  7. How does it benefit the visual effects industry to have a serious alternative to Photoshop for texturing and post work?
  8. Why is it better that this alternative is open source?
  9. If you weren’t constrained by resources and legacy code, what would CinePaint look like?

What are the answers to those questions? Look for 3D World on newsstands the end of January to see.

We also discussed CinePaint in relation to proprietary tools like Mari and Nuke from the UK company The Foundry. Mari is a new 3D paint app that also does 2D paint. Nuke is the compositor that was developed by Bill Spitzak at Digital Domain (Michael Bay’s post house). Bill also created the open source GUI toolkit FLTK that CinePaint is transitioning to.

Something unusual about Mari as a paint app is it offers a node-based interface like Nuke. While more users may be familiar with layer-based compositing interfaces as in Adobe After Effects, many find a node-based interface more powerful. Offering both seems ideal. Open Movie Editor features both a layer-based and node-based interface.

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