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Although the idea of providing a tracking tool in an online compositing system was at the time revolutionary, it was prohibitive to lock down an Onyx-class machine for this task and to supply coffee during the many breaks the artist was forced to take in between retries. But the main problem was that in the early days, tracking a 30 seconds spot was a half an hour batch process that was not guaranteed to succeed. Its original purpose was to stabilize unsteady shots but the integration in Action as a general tracking tool really allowed to make most of the technology. Then a year or two later Beniot made it even better. When Discreet bought flame, the tracker was updated by Andre Le Blanc one of the original founders.Īt this point it became a 2 point tracker and if I remember correctly you could track scale and rotation. In reality it was nearly 12 months before the new software and new tracker would be released, but with it came a major improvement in tracking.īehind a large part of that improvement was Benoit Sevigny. In there was a major advance in tracking as Discreet moved from version 3 to version 4. The iQ was first shown at IBC At the moment, Quantel has no 3D camera tracking. We decided to go with interactivity and the real thought went into making it easy to use, making it easy to stop and restart a track because it was never going to be perfect. Tracking was first shown on a Quantel Henry in The demo involved tracking a Quantel logo onto an elephant. It would be several years before any other product would allow tracking for VFX work. He would then take his tar tape and go to the next site. I remember that Gary used to travel from site to site, fixing site-specific things, and configurations that might not be the same as at discreet. I made a list of stuff that we liked and that I thought should be on flame. In the first flame Siggraph users group meeting met in Orlando. By the end of, Flame had moved into commerical work at Lamb and Co.