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Please describe any scenario that would realistically require 12GB video memory.

No problem! The list for VFX and engineering apps is considerable BTW.

I see this none argument all the time. Just because you have no requirement, that's far from protesting that there's no requirement in industry. In fact there obviously is, otherwise NVidia would not be making a workstation card with 12GB RAM.

Blender is not going to address the needs of a VFX facility. Having a python checkbox isn't enough to handle the sorts of scenes and needs of a feature film vfx shot in most situations. There is a reason CG supervisors still pick Max, Maya or Houdini over "free" software and that's the cost of productivity. $3,000 is a small price to pay compared to being even 10% more productive. The average VFX artist is paid at least $65,000. So if you need 10% more artists to do the same thing in the same amount of time then you're paying $6,500 per year in lost productivity. That's substantially more expensive than $1,000 per year for maintenance. Which isn't to say that there aren't good video editing applications for Linux. For VFX studio editing needs Nuke Studio is enough and it runs on Linux:

http://www.thefoundry.co.uk/pr...

In fact from a VFX facility's perspective it integrates better into a pipeline than any of the other commercial editing applications and it works well with Nuke which is the defacto standard for compositing.

Nuke and a lot of other software used for computer graphics.

• Scripting in Houdini (python, etc)
• Nuke in python
• Maya scripting in python and MEL.
• Softimage scripting (python, etc)
• 3dsmax in python and MAXScript

The technology they're using, which can derive high resolution frames by comparing several successive frames, or analyzing the rolling shutter effect of CMOS cameras is actually already well established in film visual effects.

Visual effects technology company 'The Foundry' have done quite a lot of research into this area already.

Their Furnace F_SmartZoom tool uses motion estimation techniques to analyse successive film frames to derive single frames of higher resolution than any one of the moving frames. And their Rolling Shutter tool uses local motion estimation algorthithms to analyze the staggered frames output by CMOS cameras to reconstruct them into complete un-staggered frames.

It's very interesting that the scientists in Oxford are exploiting this side effect of CMOS cameras by combining both these technologies to derive high resolution, un-blurred frames from multiple CMOS images.

As a side-note, District 9 was shot on the Red camera (a CMOS camera that exhibits this rolling shutter efffect), and a lot of Image Engine's post-production work that film required this sort of analysis so that staggered frames could be reconstructed to enable 3-D motion tracking for the insertion of CG into live action plates.

The technology they're using, which can derive high resolution frames by comparing several successive frames, or analyzing the rolling shutter effect of CMOS cameras is actually already well established in film visual effects.

Visual effects technology company 'The Foundry' have done quite a lot of research into this area already.

Their Furnace F_SmartZoom tool uses motion estimation techniques to analyse successive film frames to derive single frames of higher resolution than any one of the moving frames. And their Rolling Shutter tool uses local motion estimation algorthithms to analyze the staggered frames output by CMOS cameras to reconstruct them into complete un-staggered frames.

It's very interesting that the scientists in Oxford are exploiting this side effect of CMOS cameras by combining both these technologies to derive high resolution, un-blurred frames from multiple CMOS images.

As a side-note, District 9 was shot on the Red camera (a CMOS camera that exhibits this rolling shutter efffect), and a lot of Image Engine's post-production work that film required this sort of analysis so that staggered frames could be reconstructed to enable 3-D motion tracking for the insertion of CG into live action plates.

What's this nonsense. You already have the best compositioning software there is on linux. http://www.thefoundry.co.uk/promo/nuke.html

Once you have the comp in done in your image editor with as little pixel and grain distortions as possible. Try the following. Note this does require a $5000 set of plugins http://www.thefoundry.co.uk/ Furnace (no not the After deffects set) and the $5000 program them run in. http://www.eyeonline.com/ or http://www.apple.com/shake http://www.d2software.com/ (and yes a few others in the $100k+ range) In fact I might even do the whole comp in my film compositor with the use of some other tools. Anyway. Comp elements use historgram matching to match elements in the shot that should have the same color ranges. (You could do a color overlay in PS.) Ok now you have a good comp with good edges or edge blending and light wraps. You completely degrain the shot with furnace (each element seperatly degrained) You then regrain the shot as a whole. degraining and regraining work on all three color plates seperatly so when you regrain the shot it should be adding basically another blending of the of the colors making them uniform to what the original piece of film would have been. Now you take that file and do a film out of that. That is a very simlified break down of the technique. Many of the steps for each step are left out. My basic assumption is that the software looks for irregularities in the pixels deformations, areas of transition, and color offsets in the comp. I would love to go up against this software. (not that I would win but it would be fun to try as long as someone else is paying for the film outs and scans :-).) OH and if your source and destination or supposed to be film you probably want a drum scan not a CCD scan.