[Bob Woodhead]

Tim, hybrid bermuda grass has been the way we’ve done things for YEARS, and there’s just no reason to have to learn a new way to chew the cud. You may be able to get IN to that field of bluegrass, but you’ll have problems finding your way OUT. It’s just not persistent. Silly bovine, magnets are for refrigerators.

[Bob Woodhead]

Reading the Chronosync FAQs, but I can’t see if it will modify ONLY those files that have changed. ie; delete & add only as needed.

Does it do this?

(This is why I use SuperDuper – after the initial clone, subsequent backups take only as long as needed to copy/delete files that have changed.)

[Bob Woodhead]

Interesting. I use SuperDuper, and that needs to work from the root of the target drive (I believe). I’ll need to read up some & see if it’ll clone to a subdir.

Thanks!

[Bob Woodhead]

That’d work if that was all I’m backing up. This is a clone of the entire RAID.

[Bob Woodhead]

We’re looking in the looking glass and seeing ourselves.

[Bob Woodhead]

Brian, I’d like your opinion on using Smoke for effects work for what I’d call “eye candy” – effects and such to spice up an edit, not necessarily the “destination”, if you will. For example, some of my work is corporate, where often it’s not a complicated promo effects stack, just some glows, particles, sizzly transitions, the like. Back in the day on Quantel, I could get exactly the look I wanted, but it’d be a lengthy process of “designing” a unique effect. Fast forward a decade to FCP7, and tons of plugins, and it’s simply “preview a few plugs, find something that’s pretty close, and away we go”. Sort of how I think of Motion vs AE; Motion is great for fast comps that look good, easy behaviors, etc, but if I need precise control I head over to AE. So while I don’t think Motion is overall as good as AE, I’ll often use it because it gives a decent fx look, quickly.

So in Smoke, I’m wondering if the “depth and finesse” would tend to slow down the “quick n’ dirty eye candy” type of work, mostly relating to using 3rd party plugs in FCP/Motion/AE (often with many presets), where on Smoke, it’s Genarts and….?

Caveat – I’m framing my question as a “one man band” workflow.

Thanks!

“Constituo, ergo sum”

Bob Woodhead / Atlanta
CMX-Quantel-Avid-FCP-Premiere-3D-AFX-Crayola
“What a long strange trip it’s been….”

[Bob Woodhead]

may I suggest: “It Ain’t Ever Gonna Stop Changing. Again.”

“Constituo, ergo sum”

Bob Woodhead / Atlanta
CMX-Quantel-Avid-FCP-Premiere-3D-AFX-Crayola
“What a long strange trip it’s been….”

[Bob Woodhead]

With the target market this is (I think) intended for, an external 12V source wouldn’t be a big deal. You’ll likely be on rails anyway.

[Bob Woodhead]

I’m a big fan of filename incrementing in AE, so in DL work, I simply “Save a Copy” and increment that. As for PPro previews, you’d need to render out a new version anyway from AE if you weren’t using DL.

I’m not saying DL is perfect, but it’s not quite bash-worthy, either. 😉

[Bob Woodhead]

My experience shows that Dynamic Link is an awesome, amazing idea that basically doesn’t work unless you’re doing very simple operations.

ummmm…… huh? Maybe I was doing something wrong, as it’s worked quite well sending video off to After Effects for complex layering & FX, then remaining linked in the PPro timeline for 1-click editing in AFX.

Of course, you almost always need to render a preview to get any usable performance in PPro from the resulting linked comp – maybe that’s what you’re referring to? But you can’t expect CPU magic to happen just because it’s a DL asset.

“Constituo, ergo sum”

Bob Woodhead / Atlanta
CMX-Quantel-Avid-FCP-Premiere-3D-AFX-Crayola
“What a long strange trip it’s been….”