If you create composites or perform rotoscoping for a living, Combustion is worth the investment. Although other, lower-priced programs provide some of Combustion’s functionality, its excellent interface and professional features make it a pleasure. You’ll have to rethink some of your work habits, but you’ll be glad that you did.
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If you’re a video-professional who uses Adobe After Effects, at one time or another, you’ve probably longed for the power of a high-end compositing system such as Discreet’s Inferno or Flame. Combustion 2, Discreet’s first major upgrade to its low-end compositing and rotoscoping system for video and film, will ease some of that longing. Although Combustion is Discreet’s entry-level product, it’s an incredibly powerful tool built around the same technology as the company’s higher-end packages. At £3,845 plus VAT, Combustion costs way more than its chief competitors, Adobe After Effects (£499) and Pinnacle’s Commotion (£372), but it offers colour-correction and painting features far beyond those of lower-priced packages. With version 2, Discreet has added new text and particle-generation features, which make the package even more enticing. And because it can exchange data with Discreet’s high-end systems, Combustion 2 can serve as a great low-cost additional workstation for post houses that already have Flame, Flint, or Inferno. With Combustion, Discreet eschews almost all of the Mac’s interface standards in favour of a derivation of the interface it uses in its higher-end compositors. The result is an extraordinary working environment that runs in either Mac OS 9 or OS X. Combustion has no windows. The entire screen – below the menu bar – is filled with dark grey, to ease colour perception. The top half shows video – or several different views of a video – and the bottom half is a well-organized collection of context-sensitive buttons and tabbed palettes. There’s more to make Combustion’s interface so inviting. First, all functions are context-sensitive – that is, the program displays only tools and options relevant to the current action. While other software companies have tried to create similar environments, Discreet has succeeded – Combustion’s elegant interface design never makes you feel cut-off from the rest of its tools. Second – and as in After Effects – all buttons and fields are scrubbable. The mouse can be moved back and forth over a control or field to change its value – watch the screen update in real time. This is an outstanding feature for making changes to a single axis of rotation or position. In general, Combustion’s interface is striking for how little mousing you have to do – the right control always seems to be where you need it. The only downside to such a different interface is that it can take a day or two to recognize the visual cues that help you understand the organization and relationships of features, but once this is done, other compositing packages will seem cumbersome and overly complex. Combustion can import all major video and graphics formats – and it provides as many as 16bits per colour channel, making it suitable for film work. Like most compositing programs, Combustion separates a project into layers. Each layer in turn can hold video-clips, still images, painting information, and other layers. And by providing a workspace palette in the bottom of the screen, the program makes it easy to manage layers. Combustion 2 includes the same keying technology as Discreet’s higher-end applications, as well as sophisticated vector-masking tools that allow for the creation of complex gradient masks.
Cloning about It also includes a vector-paint facility, with shapes, brushes, bézier tools, and more. All shapes and paint strokes remain fully editable. Combustion takes a different approach to cloning – a staple function of rotoscoping and compositing. Instead of the single, brush-like cloning tool found in most painting programs, Combustion has many – any shape can be a cloner. For example, you can draw a vector shape and tell Combustion to clone its contents from somewhere else in your image – or from an entirely different frame. All editing operations are performed by applying the appropriate type of operator to media. For example, when you want to paint into a piece of video, apply a paint operator to that clip. In the workspace window, each operator can be seen, attached to its piece of video. Combustion applies all the operators on-the-fly when it renders its images to the screen. Because all functions – colour-correction, painting, effects-filters, character generation, making selections, and so on – are applied as operators, any of the actions performed on media can easily be deactivated, removed, edited, or reordered. This is incredibly powerful, and provides tremendous creative freedom. Discreet has also included its high-end colour-correction and motion-tracking tools in Combustion. The motion-tracker is first-rate, delivering rock-solid image stabilization – as well as motion tracks with subpixel accuracy. But although Combustion lets users import or export motion-tracking data to a file for later use, we’d prefer a more convenient mechanism for easily storing data within the project file, à la Commotion’s Motion Tracking palette. Combustion’s colour-correction tools offer all the controls you’d expect to find in an image-editing program, as well as excellent colour matching – ideal when colours need to be matched between layers. Two major additions to version 2 are new text features – which make Combustion just about the best character-generating application available for the Mac – and an amazing particle-generation system that allows for quick and easy rendering of everything from fire and smoke to explosions and pixie-dust. Finally, Combustion renders at very high speeds – though performance will depend on your RAM capacity and OpenGL card – and Discreet generously includes network-rendering software.