Bret Williams
Forum Replies Created
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On my hard drive, in my user folder is a folder called projects. Inside that folder are folders by client. In side each client folder are project folders. Inside a project foder things are setup as I see fit for each project. If it starts as a FCP edit, then there is a file for the FCP project. There would also be a folder called photoshop or simply stills. There would also be a folder that is called After Effects for after effects related projects and sources. If Illustrator is used there’d be a folder called illustrator. There may also be a folder called DVD where I would export all the DVD elements.
On the media drive I simply have the capture scratch folder and let FCP manage all the tc material. I also have other media folders there named by project for non-tc material that would play off the drive. Folders alled AE render files or LiveType render files, etc. They would have the project name in front. When the project is over I might back these up to a CD or DVD or leave them on the drive until I’m positive all is well.
It’s never perfect. Things get so mismatched as a big project grows. But I generally try to clean it up when it’s all over and make sure everything except timecoded material is in one nice folder. Time coded material can always be reloaded. No need to back that up.
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But if they don’t know how to read email…
Which begs the question – If they can’t read email why do they need a web site? Seriously.
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How have you been updating the Motion file? You cannot, for example, leave the motion project open and just switch over to it and make adjustments and save. FCP will see that the file is different and make it off line. You have to get to the Motion project from FCP so that it is awaiting a change. You need to right click in the seq and choose to open in Motion/Livetype.
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Yeah, the stores are worse, but the first macbook I ever saw was at a buddies house. He still had his titanium powerbook right next to it. I picked up the macbook and it was like Walter said, a mirror. Anything black wasn’t black, it was me or whatever else was in the room. And I found myself adjusting the screen or contorting myself to keep the glare from the light off it. I didn’t notice any great sharpness or brighntess difference gain that was worth it.
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You might also look into an external sata which is faster than the FW800. Make sure you’ve got a connection for it.
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[jamibo] “Could anyone recommend a use for the AJA that I might be neglecting?”
Loading uncompressed SD video into your system? Am I missing somethiing? Is that a trick question?
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Drives sleeping? Ejected CDs/DVDs with imported media?
A hard drive that’s going bad fast. Seriously a possibility especially since you’ve seen it before. I’VE NEVER seen that before, but occasionally heard of something similar.
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Flat out, the still are at being displayed at half resolution, field doubled. Probably not rendered as mentioned. Although I would have thought they would have been rendered when exported a sa still.
Other notes: FCP and After Effects and probably every other graphics and video program completely ignore the DPI or PPI of an image. It is meaningless EXCEPT when scanning when of course you have to calculate how many dots per inch to scan.
It’s pretty simple really. You’re scanning a photo. What should you scan it at? For SD, your image is 720 pixels wide. If you’re just going to do some minor zooming or cropping, all you need to shoot for is a 1000 pixel wide image. So you’d scan your 2 inch wide wallet size photo at 500dpi to get a total of 1000 pixels.
A normal 4×6 gets by easily with 200 or 300 dpi depending on the orientation. 300 dpi would probably be fine for the wallet size as well, since you might not gain much over 300dpi anyway and start to notice the film grain anyway.
300 dpi would be overkill for sure for a 8×10 which could be more like 100dpi. But you might want to crop way in.
When a client asks what to scan their images at I tell them 300dpi since it’s usually photos 4×6 that I’ll crop somewhat. It covers most situations pretty well.
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Filters apply to clips, not frames. Instead of adding edits, I find it more organized to overlay the frame over itself on the layer above, keeping the original clip fully intact below.
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I just don’t get the glossy thing. Glare city. Every time I see matte and glossy next to each other in a store I find myself having to tilt and move the glossys to see them. And if they’re locked down they’re sometimes useless. The mattes are of course fine.
I think glossy may be better served for output devices like LCD tvs where you need the brightness and sharpness.