Arnie Schlissel
Forum Replies Created
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I suspect (hope?) that this is the way they’re going. They’ve already added some of Shake’s features to the new version of Motion, perhaps they’ll steal a few features from motion to add to the replacement of shake?
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
I’ve gotten good keys with Conduit from DV Garage. It works in both FCP & Motion. It’s not very straightforward, but once you wrap your head around it, it can be very powerful. Shake, OTOH, kicks butt.
Re Shave vs Boris, it’s really a matter of your needs. Do you need a bunch of plugins for FCP, or do you need a really powerful compositor? Maybe you need both?
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
I use compressor for this. It’s probably best to make your own preset, and you can even make that preset the default,along with the folder you want to put your output into.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
Actually, the ‘2 way’ color corrector is really good for this. Once you select the target color in the limit controls, you can spin the right color wheel until you get into the general neighborhood of the color you want to replace, then use the left hand wheel to fine tune it.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
[Sean ONeil] “It’s not like the possibility of this problem didn’t exist before. Maybe it’s more likely to happen now, but there is the option to turn it off.”
Right. It’s only become easier.
Before it was “operator error”. Now it’s a feature! And I wouldn’t be surprised if in a month or 2 we’ll start seeing urgent postings here from people operators who erred by using this feature (insert evil laugh here).
Now for those of us who are, say, more aware of the possible liabilities, it could be a very useful feature, and open up some new options in workflow. So, like most things, there are pluses and minuses.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
So far as I know, HD CRTs are no longer in production. What few new ones are still in inventory here & there won’t be available much longer. Even consumer CRTs are becoming less common as people buy HD sets. I’d prefer to move forward, to embrace the new standards that are emerging.
Professional monitors have always been far better and more consistent than consumer sets. Plus, most consumer sets leave the factory with their brightness & contrast pushed all the way up, & nobody ever bothers to adjust them down to where they should be. But that’s not the point.
My point is that you can’t control the conditions at the end of the delivery chain, you can only control them in your own edit suite. We can (and should) make color decisions based on a good quality, calibrated broadcast monitor, along with our scopes. And the cost of those monitors, and even those scopes, have been coming down.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
I personally think that good quality monitoring has never been less expensive than right now. And I’m looking forward to new technologies & competition driving down prices a little bit more over the next couple of years.
Think about it. 2 years ago, any true HD monitor of passible quality would have run you something like $12K or more. Now it’s more like $2K for plasma and $3-4K for LCD. I’m hoping that pro-quality projectors will get down into the $5K or under range, so that it will be practical for a film editor to project onto a 10′ screen in their own suite.
Pass the popcorn!
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
[ben chappell] “We’ve got jobs in process….don’t want to screw anything up.”
That’s a pretty good reason right there. If it was me, I’d wait until 1 suite was free (and I’d put at least some effort into freeing it up) and test it there, first, then upgrade the other suites 1 or 2 at a time when they’re in between projects.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
FCP will not allow you to do this. The reel name is actually part of the QT file, and when you change it in FCP’s browser it will change it in the QT file as well.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
Just stay away from anything that might be proprietary to the hardware that it runs on. Media 100, Avid, and others have all had at least some products with codecs tied to their hardware. Anyone who’s migrated from one of these platforms to another will tell you that it was difficult to move any archived material, like graphics or stock footage, that was native to the old hardware.
If you want to archive online, use a codec that’s not tied to any one platform, like animation, targa, photo JPEG, Sheer, image sequences, etc.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog