Andrew Kimery
Forum Replies Created
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[Alexander Freedman] “Wow, I didn’t realize the MacPro’s weren’t refreshed either! With that in mind, I think I can certainly hold on to the 2010 a few more months to see what Apple’s fall lineup is. It really doesn’t deserve to be put down just yet haha. Great info!”
The website MacRumors has a buyer’s guide that let’s you know at a glance how long it’s been since a new product (Mac Pro, iPhone, etc.,) has shipped.
https://buyersguide.macrumors.com/#Mac
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[Alexander Freedman] “Honestly, I think the current Mid-2010 MacPro I have is working just fine. It has a few kinks that worry me: I have to push the power button three times before it actually powers up, can’t restart the computer as it’ll just shut down regardless and never cut back on but once she’s going, and if she’s in a good mood, she purrs haha! My external 8TB HDD RAID array from 2010 just failed as well so it just seems like it’s on the last leg.”
Is it possible to get the 2010 serviced because there might just be something physically faulty with the power button or power supply. If you can hold on to your MP for a few more months I think/hope Apple is going to roll out new hardware this fall.
I have a 2009 MP that I’ve been wanting to upgrade from for over a year but I just can’t pull the trigger given Apple’s current offerings. I mean, even the ‘new’ Mac Pros are still the original models from 2013 yet they are still charging top dollar for them. New CPUs from Intel and new GPUs from AMD and Nvidida have been released recently so it’s my hope that Apple has been holding off until this new tech came out before they announced new hardware, but we will see.
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I wouldn’t suggested buying a Mac Mini. The last update was in 2014 and in some regards that was actually a down grade from the previous version released in 2012.
Why are you looking to upgrade from your 2010 tower and what is your budget? Honestly, right now the only Mac worth buying IMO is an higher-end iMac, but they are due for a refresh too.
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Funny you should bring this up as I just ran into a twisted credit knot recently myself.
I was working on a small doc and after about a month hiatus from it I got together with the producers to do some notes that we just hadn’t had the time to do before some screenings. One of the changes was to the credits (just removing a couple of names) and I’m like, “No problem, that should just take a second”.
So I go to the end credit roll and it’s an MOV. “Oh, that’s right, I exported a QT from AE.”
So I go to AE, click around a bit and quickly realize that the credit roll is just a single TIFF in my comp. “Oh, that’s right, I made the TIFF in Photoshop, but animated it in AE.”
So I go to Photoshop. I see my credits but I still get edit any of the text. “Oh, that’s right. These are just TIFF ‘cards’ of the credits that I pieced together into one big TIFF.”
The actual credits, the editable files, were created in Keynote by one of the producers.
So I open up the Keynote file, find the ‘card’ with names that need to be removed, remove the names, export that single card as a TIFF, bring it into PS, replace the old TIFF with the new TIFF, export out a new TIFF of the whole credit roll, bring it in AE for animation, export out a new QT, bring the new QT into PPro and…. DONE!
This, ladies and gentlemen, is the type of convoluted, yet successful, workflow you end up with when under the gun.
Time for that drink now.
-Andrew
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I tend to dupe/version sequences a lot and on more than one occasion I’ve made changes to the old version instead of the new version. Really annoyed at myself when I do that. Now when I dupe a sequence I’ll lock all the tracks on the old to keep from accidentally messing with it.
It’s doesn’t help the sorting short fall, but it keeps me working on the right timelines.
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[Tim Wilson] “To me, though, the real ninja power is mapping each NLE to a UNIQUE set of custom keyboard shortcuts. “
I kinda agree and I kinda don’t as default keyboards can be hit or miss. For example, PPro’s kinda sucks IMO as many functions aren’t mapped by default, and FCP 7’s had oddities like the actual editing commands along top row function keys. Avid’s default is pretty good from a ‘commands probably used most often are close to each other’ perspective, but even then it depends on what commands you use most often.
A year or two ago I started using a Logitech G13 gamepad to replace my keyboard for 95% of my NLE needs and this really had me rethink which commands I use most often. A lot of what I use most often is pretty universal (play, pause, rev, ff, mark in, mark out, go to next edit, go to previous edit, insert, overwrite, lift, extract, replace edit, add edit, add marker, add keyframe, etc.,) so of course I’m going to remap the commands so that no matter what NLE I’m using things like that will be the same. There’s no reason insert edit should be a different key for every NLE I own (which I think is up to six now).
With that being said, not all the NLE’s have the exact same feature set so each of my keyboard/G13 layouts is unique in the end even though the core commands the same no matter which NLE I’m using.
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[Scott Witthaus] “So it seems ease of use and speed don’t seem to be an issue unless one is trying to “unlearn” another software “
That’s been my experience when helping people learn NLEs. The first one always seems to be the easiest because the person learning is a blank slate. I think the second NLE is more difficult because you have to become a blank slate again, and that’s hard because what you are trying to forget is the only point of reference you’ve ever had for what you are trying to learn. I think the third NLE is almost as easy as the first because by now, hopefully, the learner understands the importance of becoming a blank slate (and can do it more easily) and now that the learner has two NLEs under their belt so I think it’s easier to think of things conceptually as opposed to just NLE-specific procedures.
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[Dave LaRonde] ”
If you use AE’s interpret footage settings, and you type in a new frame rate, you CONFORM footage.”Ah, right. I got my wires crossed reading the post.
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[Jon Shank] “Now say I wanted it to be mad maxy and look like it was shot in 21fps for that quick Strobey effect.”
The shutter angle also plays a big part in getting that strobe look since you can use the shutter to increase/decrease motion blur, and 24fps is such a low frame rate that w/o enough blur the motion will look very choppy.
[Dave LaRonde] “Here’s how to make 15 fps footage out of 60 fps footage:…”
How does that method compare to using the Interpret Footage setting in PPro (which allows you to tell PPro what frame rate to play the footage back at)?
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[Tim Wilson] “Guys, there’s literally not a single more proven method in advertising than celebrity endorsement. It’s been going on from the very, very beginning of advertising, and sponsors keep doing it because it works.”
Gotta agree. If it didn’t work it wouldn’t be so ubiquitous. Sports is a prime example. Athletes, venues, cars, etc., are branded out the wazoo. Many athletes make more from sponsorship deals than from the sport they compete in. Am I going to buy a Buick or sign up for Nationwide insurance because I think Manning really knows a lot about cars and insurance? Nope. But I remember the Buick and Nationwide commercials because Manning was in them which helps with brand awareness which is one of the goals of advertising.
Execution is also important. Just having a celeb say “I like brand X’ isn’t very memorable and will probably go over like a lead balloon. But having something like the Johnny Rotten spots Tim posted is a different beast. Put in a no-name actor and the same ad is pretty forgettable, but Johnny gives the ad an instant hook (assuming the viewer knows who he is).
Another example is Apple’s Think Different campaign. The most memorable part is the posters of famous people with the Apple logo next to them (and Jeff Goldblum).