ok, the website makes CinePaint sound all great and stuff, but i cant figure out how to use it, and it seems to have fewer features than GIMP. is there really any reason to use CinePaint unless you need to read and write all the super high rez film file formats?
ps: can it key out green and blue screens?
not high rez, but hi precision [bit depth]
I think it may have a better means of interacting with large numbers of images than the gimp [1.2] did
cinepaint is based off an old version of the gimp
yah i guess. wats the difference between high rez and high precision?
and can it key out blue/green screens?
a crt monitor has a higher resolution (say, 1280x1024) than a television (say 400x320)
film has a higher precision than a crt monitor. a monitor can only represent 16.6 million colors, film can represent several more [so can scanners]
actually you are better off using gimp2.0.2
u can blue/green screen with the color to alpha at filters>colors
(thats what I use…) there is another plug-in, but I did not bother looking for it yet
it has a lot more functions as cinepaint and can handle frames.
I don’t see why I should use cinepaint
resolution: The number of pixels, horizontally and vertically, in the image.
precision: The number of bits of color-information that are captured in each pixel for the RGB (or CMYK) channels. The size of the number; therefore the number of discrete values it can hold.
In addition, one must remember that the color-space of a medium like photographic film is not linear. A “red” value of 0.5 is not really “twice as red” as a value of 0.25. And “blue” might have a totally different scale. Each of the devices (scanners, film-printers, the film itself, digital projectors, televisions of various types, and so-on) have different color handling capabilities and different responses to requests for different color-values and combinations. (In the case of film it has everything to do with really complicated- sounding chemistry, which I don’t begin to understand although somewhere on my shelves I have some books on it.) All of this would be vitally important to the film industry, as it is to the printing industry. Just to get “what you see is what you get,” in a world where all pre-production proofing is now done on computers and if you make an error you’ve already just made ten bezillion copies of it. I don’t know how much or how little of this CinePaint may cover, but these are some of the salient issues…
thanks, i didnt understand alot of it, but now i get the difference between resolution and precision