David Bogie
Forum Replies Created
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But…
You need some way to get your video to the Beta and you need some way to control the deck.bogiesan
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Glad you found a solution.
sorry, I have no clue what might have been the problem!Strongly urge you to start working on a new copy of the entire project and, if you have the space, make a backup of as much as you can. Use Media Manager or, at the least, just make sure you have Time Machine working on your system drive where you store your projects and your autosave vaults.
the whole idea here is you have experienced an uncomfortable glitch. You don’t want that to happen again or, if it does, you want to have a fall back plan.
bogiesan
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Prefs don’t affect this one.
The most common cause is simply not having the clip properly selected. you may be applying your effects to the Browser copy of the clip, not the one in the timeline. I do it every now and then. but without watching over your shoulder, hard to know what else to suggest.
bogiesan
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[Jeff Zimmerman] ” used a duplicate copy of the text with a gradient vertically from white to black and animated the threshold value hoping to make the shatter slowing advance downward. The problem is i cant seem to get this to work. The entire text is shattering at once rather than looking like its falling apart from top to bottom. Im not sure if i am using a wrong setting or just over looking something.. suggestions?”
Shatter is remarkably complex. You want to keyframe the diameter of the force sphere to control which particles are allowed to start moving. You can only use a gradient to control thins if you REALLY understand how shatter works. The more slowly the edge of the sphere moves across your layer, the cooler the disintegration effect will be. You might want to set the center of the sphere way above the layer. The depth of the sphere imparts implosive or explosive momentum to the particles. A sphere that is behind the layer will push particle outward toward the camera. if the sphere is on top of the layer, the particles will start to move to the back, away from the camera.
Brian Maffitt used to say this: The force field tells a particle it can move if it gets permission, the gradient gives the permission. If you’re not using gradients, permission to move is given by the sphere.
You can also use both spheres to cause a secondary ripple to pass through your particles or you can use two copies of Shatter on the same layer.
bogiesan
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It makes a huge difference which you choose. DVD is flexible but MPEG2 rather blows when blown up unless you really understand the encoding procedures. Playing back full HD requires high speed drives, usually in a RAID, and a card that can send the full HD signal to yor projector which must have an HD input. You can use anything you want, you just need to be able to hook it up and know that it will play back reilably.
bogiesan
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The projector is not really part of the problem, it’s basically just a display. You render to suit your playback device or playback application. Are you using a DVD player/app, QT, WMP, a computer, VCR?
bogiesan
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You must select the clip only to obtain a subclip. I’m not watching over your shoulder but it sounds like the sequence is selected in the browser so that’s what gets subclipped.
The only reasonable way to get useful subs is to export them as new media and reimport them, which, in any decent NLE, would be a one-button operation, if it was necessary at all, which it shouldn’t be.There’s a somewhat dated article on kenstone.net about the family of FCP clip types.
The main issue is your (and my) definition of subclips differs wildly from Apple’s and we’re all stuck with the official version. We must conform.
My definition of sublclip goes back to Media 100 which was intuitive, flexible, and functional. I see none of those attributes in FCP’s weird subclip routine.
bogiesan
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[Dustin Parsons] “Is there any way to create a null object (like After Effects’ Null Objects) that I could add a vignette to?
“A vignette applied to a null would be just as invisible as the null.
bogiesan
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[David Jahns] “My hope is that if we can establish a YUV to RGB workflow that works for After Effects, it will also work with getting things to a Flame RGB space and back.
Does that help? I’m sure many of you have jumped through these hoops before, right? I realize it’s a lot to write out in a forum post – anyone know of any published articles that deal with this? Come on, show me some links!”
Not that I know of.
You might want to spend of few hours cruising the AE forum at adobe.com. If anyone knows, some of those heavy wonks might.bogiesan