Arnie Schlissel
Forum Replies Created
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when you run your interlaced footage through compressor, you can deinterlace it using the filters tab. The deinterlacing filter has an option for blurring or blending the fields together, I’ve found that it works pretty well.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
[ben] “or just install them on all the machines….”
That would be a violation of copyright. Many plugin vendors are small mom & pop style operations. I suspect some of them would be willing to cut a site licensing deal if you approached them properly.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
I’m working on a film with over 130 omps, some 4 or 5 layers deep, that I sent to Shake directly from my FCP timeline. Never saw anything like this happen. Is it possible that your friend has footage on an external drive that was offline? Or a drive that crashed?
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
[walter biscardi] “I always thought the biggest moneymaker would be a 3D porn film.”
Impractical. The glasses keep fogging up. 😉
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
It’s been my recent experience that Conduit is very resource intensive. I don’t think that’s a bad trade-off, though, given the power & flexibility.
Are you using Conduit to make your whole composite? If so, try taking your background out of Conduit & placing it in your Motion timeline instead.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
CHV has some new FX-Plug plugins that might do this.
https://www.chv-plugins.com/cms/FxPlug/ShiningFX/Shining-FX.php
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
The alpha channel doesn’t just happen, you have to make it. I’d recommend that you look it up in your PS manual, and you could probably search in this forum or in the Photoshop forum.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
[nateboston] “I think I’m thinking about it too hard.”
That’s really what I wanted to say, but I didn’t want to sound arrogant or offensive. 🙂
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
[Pixel Monkey] “(The Paul is now in an oak, glass-front gun rack.)”
I see something very ironic & poetic about that. Especially if there are some real guns in there with it!
BTW, I have an SG with soapbar pickups sitting in it’s case in the closet. It may be time to drag it back out… Or the arch-toped Gretch…
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
[nateboston] “But is there something published? Like a “Best Editors in the World Share Their Insights” kind of book out there?”
There are several. Walter Murch (Appocolypse Now, The Godfather, Cold Mountain, Jarhead) has written a couple of books. He not only cuts great films, he writes about it very well, & he likes to postulate theories about film editing. I just did 2 quick searches on bn.com for “film editing” (614 hits) and “documentary editing” (102 hits). Do a search & peruse the results. Order a few books, & enjoy reading them.
[nateboston] “The offline is intimidating. I look at hours of raw footage and get overwhelmed.”
I had some drinks 2 weeks ago with a sound editor that I’m friendly with. He asked me, point blank, how do I cut a scene? Do I do the classic wide, medium, close? Do I start in close & move out to wide? Do I have some other, special idiosyncratic method?
I answered, as honestly as I could, that I try not to think about it too hard. I try to be more intuitive and less intellectual. I try to let the material & the scenes around it dictate how I start & how the scene flows. I often start with the establishing or master shot, but often start with a CU instead. Especially if we can bridge from the last scene with a matching CU, or if we have a good reason (pressing need?) to jar the audience.
With documentary material, of course, it’s a little different. You don’t always have a script to work from. you have to let the narrative emerge from the material that you have. IMO I think it’s even more important to not think about it too much and let the material speak to you, then find visuals to bridge whatever gaps you wind up with.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog