Arnie Schlissel
Forum Replies Created
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[vrinek502] “i downscale a text to 20% it makes some kind of rendered buffer and when I upscale the layer (containing the text) to 500%”
Why would you do that? It’s a rather tortured workflow. Just make the text the size that you need it, and set the resolution of the layer to be the size that you need. If you need the text to resize itself over the course of your timeline, then scale the text directly.
[vrinek502] “I know shake has no such problems”
Motion is not Shake. Shake is not Motion. They work differently because they’re designed to do different things. I suspect that in the near future the 2 products may be merged, or at least they’ll start to borrow features from each other, but not today.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
You may want to check out the Deva recorders from Zaxcom: https://www.zaxcom.com/
You get 8 tracks of audio with timecode. It records to an internal HD & can export to DVD-RAM.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
Are these current version of the plugins? Many older plugins, particularly AE based plugins, won’t work with FCP5 because of changes in the internal plugin architecture.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
You’re kidding, right? Apple hasn’t even announced plans for future versions of FCP, let alone tech specs.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
OK, I just came accross this same problem myself. The answer is to apply the effects to the layer that contains the type itself, but then you need to make that layer fixed resolution, with the dimensions being larger than the text. Easiest is to simply make the layer the same size as the comp.
Agian:
1- Apply the glow/blur/whatever not to the text but to the layer holding the text.
2- Make that layer “Fixed Resolution” (in the layers tab), and make the layer size bigger than the text. -
The data rate on DVCPro HD is 100Mbps, regardless of whether it’s 1080 or 720.
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I’m using a HotPoint card here. It’s been fairly reliable, but if the Atto had been available back in October/November when I came back from location, I would have spent the extra. My experience is that the Hotpoint want’s to be unmounted & powered down before you shut down the mac, or it may remount with a drive missing.
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Well, I suppose that the weekend’s rest was all the Kona needed.
This morning, I started up the system, and opened the project in FCP. Still no analog, Same with Kona TV.
Then I opened the Kona control panel. In the control panel, I toggled the audio from channels 1&2 to channels 3&4. No change. Back to 1&2, and SHAZAM!! the aduio is magically back.
When I did the same thing on Friday, there was no change. Go figure.
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[Bret Williams] “Not sure if HD cameras have finally reaced film’s exposure latitude or not. I’ve seen a lot of things showing off thier ability to shoot in candle light, etc. but that’s not the same thing.”
It’s getting closer. I went to a demo last year where they showed test footage from several top of the line cameras, and some actually had a pretty good range of contrast. The Sony F 950 & Arri D-20 were probably the best that they showed, and they weren’t to far behind the super 16 that they used for a baseline. Dalsa claims something like 10 or 12 stops of contrast range, but the 2 or 3 times I’ve seen footage from these cameras projected I didn’t like the look of it.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog -
The book “Color Correction for Digital Video” has a chapter on design & lighting for color correction & editing suites. I’d expect any similar book to have some brief mention of this as well.
Arnie
Now in post: Peristroika, a film by Slava Tsukerman
https://www.arniepix.com/blog