Chris Forrester
Forum Replies Created
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Thank you all for your insight into this process. I have learnt alot I had no idea about needing a lawyer but it seems this is one part that is very important in the process, especially in your choice of lawyer.
Im hoping to start pitching myself towards some of the larger post houses in London for the time being with the hope of some support from them and a better portfolio. I am planning a visit to the USA hopefully in April, so I might do a little digging around see if I can find some “bits” out from there end.
Thanks for the post Monica, and the reality check 🙂 it sure is a long process and best I know that now from others experiences, im glad it worked out for yourself 8years is a long time.
Thanks again all on the insightful thread…and the funnies 😛 you all got my sense of humour thats for sure lol
Seems this will be the start of along process 😛
Regards
Chris -
LMAO thxs 😛
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Many Thanks Andrew.
The book is now on my xmas list 😛 and I will definatly check out the macros
Chris
PS
“I recommend getting your hands on the “Shake 4 Quick Reference Guide (by Damian Allen), its a tiny notebook style reference book that is like a cheat sheet for using Shake (myself and a number of my friends have this with us where-ever we are working on Shake, …when you’re starting out it’s a godsend for quick info (without having to wade through a manual and have supervisors wondering what sort of noob they’ve just hired).”LMAO….I can remember many a time my boss has seen people flicking thru the manual and bricking it a little lol
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Many Thanks for the replies, the nodal compositing was good to hear about as I have invested in a mac book pro and shake 4, just been working my way thru the manuals…of which there quite large. Its pity there isn`t a little card available somewhere that shows the AE equivalent effects compared to shakes different nodes or how to build AE type effects, unless im missunderstanding some of it at the moment 😛 For example levels on AE, in shake you might use the gamma node with the clamp or others to do similar operations that levels does already in one neat package. Any way I digress 😛 (and might well be slightly wrong on that its all very different).
But thanks again, I got some very good feedback under the buisness part of the cow…Seems its quite involved if I am lucky enough to get the oppurtunity to work out there.
Chris -
Ahh I didnt think of the buisness forumn, thanks Steve I’ll be adding it there also.
Chris -
Im glad it`ll work for you 😀
…and woot another chris!!! lol there are loads of us 😛
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Im glad it`ll work for you 😀
…and woot another chris!!! lol there are loads of us 😛
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You’ll find the info panel under the menu Window – INFO or CTRL 2, I did forget one thing though you might need to tick this preference box. Its under Display, near the bottom it reads “Show Rendering in Progress in Info Palette & Flowchart”. You might not need it ticked for fedback when loading/saving projects but I have it on always. I tend to like the feedback (although some say it slows things down a little) as I can see what comps are a little slower and what on effects.
Hope you figure it out
Chris -
I would on my main composition have a null layer lets call it controls, and place different expression controls I think its got a different category on V7 its in the effects list. In your example I would use the colour control.
Easiest way to achieve the next part would be to drag this effects panel away from the others so its on its own, you’ll see why later. Find in your deeper compositions the parts you want to be able to change the colours to and add an expression to the tint white part of the tint effect colour (or fill). You want to pick whip it to the colour control on the main composition (the one we created on that nul). It ought to be easier now as this panel of effects on the main timeline is in its individual panel (from earlier) so you can easily drag the whip to the effect, normally it would be hidden behind the other effect tab that you were currently adding an expression to This will then take on the value of the colour control.(you could also dragged the timelines to individual panels and pick whip across them, which ever you prefer:-D )
Hopefully you’ll see that you can do the same with the tint black to part, and in fact any effect that has a colour picker next to it.
What I would do group the colours that are the same always and link them all to the same individual colour control. For each individual colour you want to be able to change just add another expression control.
Now its easy to fiddle with different colour combinations.One side note, be sure to name your comps exactly how you want AND any layers and effects, especially the effects with the controls. naming before pick whipping is a MUST. Renaming anything that is linked via an expression afterwards is a pain in the butt as you expressions will need updating to reflect these name changes. So pick names wisely and from the outset.
hope this makes sense, and that I explained it okay.
incidently I only suggest placing all these controls on the main timeline and linking them as convienence as all options will be available from the outset. you could then lock and make shy all layers you know will never need adjusting so its idiot proof to who ever might tocuh it, plus maybe leave notes on a guide layer .
Just reread your post, I hope this kind of workflow is what you were after. It might mean that your solids will all need the fill effect on them so they can have there colour changed via this method but well worth it if it saves you time once setup.
Chris
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I would on my main composition have a null layer lets call it controls, and place different expression controls I think its got a different category on V7 its in the effects list. In your example I would use the colour control.
Easiest way to achieve the next part would be to drag this effects panel away from the others so its on its own, you’ll see why later. Find in your deeper compositions the parts you want to be able to change the colours to and add an expression to the tint white part of the tint effect colour (or fill). You want to pick whip it to the colour control on the main composition (the one we created on that nul). It ought to be easier now as this panel of effects on the main timeline is in its individual panel (from earlier) so you can easily drag the whip to the effect, normally it would be hidden behind the other effect tab that you were currently adding an expression to This will then take on the value of the colour control.(you could also dragged the timelines to individual panels and pick whip across them, which ever you prefer:-D )
Hopefully you’ll see that you can do the same with the tint black to part, and in fact any effect that has a colour picker next to it.
What I would do group the colours that are the same always and link them all to the same individual colour control. For each individual colour you want to be able to change just add another expression control.
Now its easy to fiddle with different colour combinations.One side note, be sure to name your comps exactly how you want AND any layers and effects, especially the effects with the controls. naming before pick whipping is a MUST. Renaming anything that is linked via an expression afterwards is a pain in the butt as you expressions will need updating to reflect these name changes. So pick names wisely and from the outset.
hope this makes sense, and that I explained it okay.
incidently I only suggest placing all these controls on the main timeline and linking them as convienence as all options will be available from the outset. you could then lock and make shy all layers you know will never need adjusting so its idiot proof to who ever might tocuh it, plus maybe leave notes on a guide layer .
Just reread your post, I hope this kind of workflow is what you were after. It might mean that your solids will all need the fill effect on them so they can have there colour changed via this method but well worth it if it saves you time once setup.
Chris