Piranha IFX is the high-end editing, grading and finishing system for Linux 64-bit, Windows / OS X.
Piranha Cinema HD is a high bit depth Editing, Compositing, Color Correction, Paint and Effects system for Film and Video.
Supports 10bit Cineon/Dpx, DM2, DM3, DM6 video cards, CXFS, XFS. or ADIC Stornext filesystem ready.
Piranha relies entirely on the fast computation by Nvidia GPU and is therefore very suitable from a graphics card dependent. It now supports also 4K and 8K, as well as stereo 3D and offers a CinemaDNG pipeline (GPU accelerated playback and editing of material with high bit depth), an HDRI color and effect pipeline, live video output via HDMI / HDSDI and native support others for Canon, BlackMagic GoPro / Cineform, Silicon Imaging and RED.
https://twitter.com/ifxsoft
https://www.facebook.com/ifxsoftware-156684261064496/
http://web.archive.org/docs/piranha 7 (old site/старый сайт)
http://web.archive.org/ifxsoftware (old site/старый сайт)
http://web.archive.org/старый_сайт (info/инфо)
http://web.archive.org/piranha/features (old site/старый сайт)
http://ifxsoftware.com/cimg/Cinema_web.pdf (detailed description/подробное описание)
http://web.archive.org/nanco.se/piranhaWeb.pdf (detailed desc./подроб. описание)
http://www.reduser.net/forum/News-from-IFX (beta tester Kyle Mallory)
http://www.reduser.net/forum/RED-Linux-and-IFX-Piranha (beta tester Kyle Mallory)
http://www.reduser.net/forum/Piranha-Linux-R3D-Support (beta tester Kyle Mallory)
Kyle's message on the reduser's forum
https://irishjesus.wordpress.com (блог Kyle Mallory)
Kyle's youtube channel
https://en.wikipedia.org/wiki/Piranha (compositing software)
https://irishjesus.wordpress.com/2009/02/16/colour-red-piranha/ (beta tester Kyle Mallory)
http://www.softpedia.com/Piranha-Interactive-Effects
http://web.archive.org/nanco.se/piranha.shtml
https://www.youtube.com/Piranha_8_Intro
https://www.youtube.com/tutorial_to_IFX's_Piranha_7
https://www.youtube.com/rotoflow_in_piranha
https://vimeo.com/IFX_Piranha_Screen_Recording_Test
https://irishjesus.wordpress.com (блог Kyle Mallory)
Kyle's youtube channel
https://en.wikipedia.org/wiki/Piranha (compositing software)
https://irishjesus.wordpress.com/2009/02/16/colour-red-piranha/ (beta tester Kyle Mallory)
http://www.softpedia.com/Piranha-Interactive-Effects
http://web.archive.org/nanco.se/piranha.shtml
https://www.youtube.com/Piranha_8_Intro
https://www.youtube.com/tutorial_to_IFX's_Piranha_7
https://www.youtube.com/rotoflow_in_piranha
https://vimeo.com/IFX_Piranha_Screen_Recording_Test
Все эти видео в одном плейлисте:
Помимо платной, есть бесплатная версия с некоторыми ограничениями в функционале:
http://web.archive.org/(pkgs_P.7/Пакеты_Piranha_7)
http://ifxsoftware.com/misc/(Archive/Архив_Piranha_8)
Лучше выбрать piranha_linux_8.1.3.tgz или piranha_install_win_8.0.0-3.3.21.exe, поскольку непрямые установщики piranha_linux_8.0.0-10_installer.tgz и piranha_8.0.0-10_installer.exe, скачивающие пакет с офиц. сайта, толком не работают.
Помимо Linux-версии программы, в Linux может работать и Windows версия (под Wine).
Цитата из переписки (2014 г.) c главным разработчиком Tom Benoist:
" ..The Linux version is 64bit. .. We used to support 32bit but stopped about 2 years ago. You could try the Windows version with Wine, the windows version is 32bit."
Нижеприведённые скриншоты взяты из интернета:
 |
Скриншоты, представленные выше, в полном размере:
Статья о истории программы, сохранённая в веб-архиве.
Apr 1, 1999, Ari Zohar Klingman
Interactive Effects' Piranha: Piranha Takes a Bite Out of Time
At the beginning of 1998, Tape House Editorial, a pioneer in high-definition television post, was missing sufficient graphics support for its HDTV department. The addition of the high-speed HIPPI interface with the Philips Spirit DataCine supported HDTV resolution (1920 x 1080) film scanning to HIPPI-equipped Silicon Graphics workstations at 8fps. The Data Department was born, and the HDTV Department became Tape House Advanced Imaging Center. But scanning HDTV data to a workstation is one thing, and getting it to HDTV D-5 or HDCAM videotape is another. The high-def digital disk recorder was not on the market, and single-frame framestores were not an option for large, animated sequences. We needed something, and we needed it fast.
In a stroke of luck, we came across the folks at Interactive Effects. At the time, they had just finished their Piranha Film Compositing System. One feature of this system that caught our eye was the playback of film-resolution (2048 x 1556) image files at 24fps. Doing the math, we had a hunch that 30fps playback at HDTV resolution (1920 x 1080) was well within this bandwidth.
We have never come across an easier company to work with. Here we were clearly doing something outside the scope of a film-effects software package, and these guys immediately went out of their way to solve every problem we could throw at them. Within a month, we successfully recorded real-time, full HDTV (1080i) files to D-5 from our Silicon Graphics ONYX2 IR rack.
Piranha is Interactive Effects' latest standout in the Amazon graphics package line. The makers of Amazon 2D and 3D Paint produced this aptly named animated compositor. A unique approach to image processing and a UNIX-friendly compositing environment give Piranha the vicious speed and adaptability of its namesake.
After solving our initial dilemma, we immediately saw the potential of Piranha. Interactive Effects had been developing this resolution-independent graphics compositor for over two years. A resolution-independent package was essential for Tape House's work flow. A typical Advanced Imaging Center project mixes both standard video and high-definition video with various graphic elements such as product logos and titles. After building an animated composite, we output the finished product to multiple formats. Some software packages find a common denominator resolution and fit or crop any different resolution layers. This wastes valuable storage space, hurts render performance, and affects quality. Piranha is truly resolution independent, keeping variable layer resolutions intact and allowing the user unlimited output flexibility.
When Interactive Effects developed Piranha's renderer, efficient graphics hardware-processing held the highest priority. The company kept every process that the graphics hardware can handle in the graphics pipe. Only processes requiring the use of the full CPU make the round-trip to the chip. The obvious benefit is unprecedented speed.
However, there is a price to pay. Enabling a full graphics hardware render completely ties up a workstation's graphics. You can still do shell and terminal-based work in the background, but you cannot continue building composites. This is where Piranha adds flexibility. You can choose to do a software render, which will send all processes to the CPU. It will be slower, but you can do it shell-based in the background and continue working. While beta testing, I simultaneously rendered four high-definition uprez scenes (bilinear scale) while interactively cutting mattes.
Piranha runs on an open system. An open system software package was very important for Tape House because we share storage with the Philips Spirit DataCine. The Spirit can scan film at 2K (2048 x 1536) 10-bit RGB to our 250GB Eurologic (standard file system) disk array. Piranha can access and work with the files without converting or importing to any proprietary file or file system. This means no "importing" times before starting a project and no "exporting" times when we need to share files. Piranha's open system also means it can run on all SGI hardware.
Piranha embraces UNIX. All UNIX scripting can access Piranha effects, projects, and commands. The Amazon graphics package includes an Amazon shell with its own pseudo scripting language. This interaction with UNIX gives the user the ability to build complex automations and facility-specific effects.
Scripting with Piranha harnesses power, flexibility, and speed, but it increases the learning curve. In order to take advantage of this power, the average user should have some ability with UNIX scripting languages such as TCL. The other option is to tackle the Amazon scripting language. This can be difficult for a GUI lover, but it pays off with big-time performance. In beta testing, Tape House used scripting and code to automate the creation and display of HDTV subtitles upon the receipt of a GPI trigger.
To the experienced compositor, Piranha's user interface and project management will be immature. Similar to Adobe After Effects, Piranha uses a hierarchical timeline. Piranha presents and executes layers and their effects in a top-down fashion, which can make large composites tedious to navigate. The interface does, however, include several ways to view the image workspace and the timeline, such as a full-screen mode.
One cool aspect of Piranha's interface is that you can manipulate effects in value, graph, and "Script" mode. Script mode allows you to access established variables and use them as effect parameters. You can assign curve data to a variable and then access it by any other effect with few keystrokes. You can even use expressions in script mode. With practice, this becomes much faster and neater than graphically cutting and pasting curves.
Project management is limited. The user must work to keep track of the project's elements. Without careful planning, a user could have a lot of trouble coming back to a complex project for revisions. Look for more project management and a flow graph at NAB.
In beta testing, Piranha has really stepped up to the needs of HDTV. The Piranha's speed and flexibility made it an impressive film compositor, but the addition of field filters, 30fps playback, and machine control makes it the perfect tool for HDTV post. Interactive Effects recently added a comprehensive field filter package that includes a proper de-interlace and interlace, field average, field swap, and 3:2 add/remove. With the Eurologic disk array, capable of sustained 240MB/s, you can maintain 1080i, real-time playback right out of Piranha's full-screen mode. The Piranha's video package supports imported lists, deck control, and auto-assembles. The interface is timecode-ready, and new edit functions are quickly bringing Piranha closer to becoming a full online, nonlinear, HDTV editing and compositing solution.
Piranha does have some rough edges, but flexibility and speed make it the perfect fit for Tape House. It is a working solution for HDTV post and graphic needs ranging from automated HDTV subtitling and HDTV software uprezes to complex compositing. Most important, Piranha is completing paid jobs with ease, quality, and speed. Don't let its immature look fool you; it has the muscle where it counts. I look forward to Interactive Effects' future additions.
Ari Zohar Klingman is the manager of data services for Tape House Advanced Imaging Center at Tape House Editorial, New York. The center offers complete online HD editing, data transfers, up-conversions, down-conversions, and a full range of digital design and development in conjunction with Tape House Digital. For more information, contact Tim Spitzer or Ruth Ann Durning at (212) 557-4949.
In a stroke of luck, we came across the folks at Interactive Effects. At the time, they had just finished their Piranha Film Compositing System. One feature of this system that caught our eye was the playback of film-resolution (2048 x 1556) image files at 24fps. Doing the math, we had a hunch that 30fps playback at HDTV resolution (1920 x 1080) was well within this bandwidth.
We have never come across an easier company to work with. Here we were clearly doing something outside the scope of a film-effects software package, and these guys immediately went out of their way to solve every problem we could throw at them. Within a month, we successfully recorded real-time, full HDTV (1080i) files to D-5 from our Silicon Graphics ONYX2 IR rack.
Piranha is Interactive Effects' latest standout in the Amazon graphics package line. The makers of Amazon 2D and 3D Paint produced this aptly named animated compositor. A unique approach to image processing and a UNIX-friendly compositing environment give Piranha the vicious speed and adaptability of its namesake.
After solving our initial dilemma, we immediately saw the potential of Piranha. Interactive Effects had been developing this resolution-independent graphics compositor for over two years. A resolution-independent package was essential for Tape House's work flow. A typical Advanced Imaging Center project mixes both standard video and high-definition video with various graphic elements such as product logos and titles. After building an animated composite, we output the finished product to multiple formats. Some software packages find a common denominator resolution and fit or crop any different resolution layers. This wastes valuable storage space, hurts render performance, and affects quality. Piranha is truly resolution independent, keeping variable layer resolutions intact and allowing the user unlimited output flexibility.
When Interactive Effects developed Piranha's renderer, efficient graphics hardware-processing held the highest priority. The company kept every process that the graphics hardware can handle in the graphics pipe. Only processes requiring the use of the full CPU make the round-trip to the chip. The obvious benefit is unprecedented speed.
However, there is a price to pay. Enabling a full graphics hardware render completely ties up a workstation's graphics. You can still do shell and terminal-based work in the background, but you cannot continue building composites. This is where Piranha adds flexibility. You can choose to do a software render, which will send all processes to the CPU. It will be slower, but you can do it shell-based in the background and continue working. While beta testing, I simultaneously rendered four high-definition uprez scenes (bilinear scale) while interactively cutting mattes.
Piranha runs on an open system. An open system software package was very important for Tape House because we share storage with the Philips Spirit DataCine. The Spirit can scan film at 2K (2048 x 1536) 10-bit RGB to our 250GB Eurologic (standard file system) disk array. Piranha can access and work with the files without converting or importing to any proprietary file or file system. This means no "importing" times before starting a project and no "exporting" times when we need to share files. Piranha's open system also means it can run on all SGI hardware.
Piranha embraces UNIX. All UNIX scripting can access Piranha effects, projects, and commands. The Amazon graphics package includes an Amazon shell with its own pseudo scripting language. This interaction with UNIX gives the user the ability to build complex automations and facility-specific effects.
Scripting with Piranha harnesses power, flexibility, and speed, but it increases the learning curve. In order to take advantage of this power, the average user should have some ability with UNIX scripting languages such as TCL. The other option is to tackle the Amazon scripting language. This can be difficult for a GUI lover, but it pays off with big-time performance. In beta testing, Tape House used scripting and code to automate the creation and display of HDTV subtitles upon the receipt of a GPI trigger.
To the experienced compositor, Piranha's user interface and project management will be immature. Similar to Adobe After Effects, Piranha uses a hierarchical timeline. Piranha presents and executes layers and their effects in a top-down fashion, which can make large composites tedious to navigate. The interface does, however, include several ways to view the image workspace and the timeline, such as a full-screen mode.
One cool aspect of Piranha's interface is that you can manipulate effects in value, graph, and "Script" mode. Script mode allows you to access established variables and use them as effect parameters. You can assign curve data to a variable and then access it by any other effect with few keystrokes. You can even use expressions in script mode. With practice, this becomes much faster and neater than graphically cutting and pasting curves.
Project management is limited. The user must work to keep track of the project's elements. Without careful planning, a user could have a lot of trouble coming back to a complex project for revisions. Look for more project management and a flow graph at NAB.
In beta testing, Piranha has really stepped up to the needs of HDTV. The Piranha's speed and flexibility made it an impressive film compositor, but the addition of field filters, 30fps playback, and machine control makes it the perfect tool for HDTV post. Interactive Effects recently added a comprehensive field filter package that includes a proper de-interlace and interlace, field average, field swap, and 3:2 add/remove. With the Eurologic disk array, capable of sustained 240MB/s, you can maintain 1080i, real-time playback right out of Piranha's full-screen mode. The Piranha's video package supports imported lists, deck control, and auto-assembles. The interface is timecode-ready, and new edit functions are quickly bringing Piranha closer to becoming a full online, nonlinear, HDTV editing and compositing solution.
Piranha does have some rough edges, but flexibility and speed make it the perfect fit for Tape House. It is a working solution for HDTV post and graphic needs ranging from automated HDTV subtitling and HDTV software uprezes to complex compositing. Most important, Piranha is completing paid jobs with ease, quality, and speed. Don't let its immature look fool you; it has the muscle where it counts. I look forward to Interactive Effects' future additions.
Ari Zohar Klingman is the manager of data services for Tape House Advanced Imaging Center at Tape House Editorial, New York. The center offers complete online HD editing, data transfers, up-conversions, down-conversions, and a full range of digital design and development in conjunction with Tape House Digital. For more information, contact Tim Spitzer or Ruth Ann Durning at (212) 557-4949.
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