[David Bogie]

[jonathan marck] “It’s not in my applications folder and I’ve done a full system search for it. Guess I’m SOL. Thanks FXfactory”

That’s just weirdly not possible but you seem to be willing to blame FxFactory for an inability to manage a system.

If you installed it, it’s there. FxFactory only knows one place to go, you Applications folder. It cannot be placed anywhere else unless you move it or deliberately tell it go someplace else during the installation.

You could try this: Locate the download file and run the installer again. It should tell you there’s another copy and help you find it. Or it might run anyway and you can make a note of where it’s going. Then you can run another “full syste ” search to locate the new copy. Use command-F at the finder level to open the Apple Find window and search for kind:applications, contains fx.

I’m with Wiggins, though, FxFactory’s filters and plugins are really cool and the freebies you get with it are worth having. They’re FREE. And you can easily turn everything else off. Idustrial Designs’ freebies are cool and useful and SugarFx’s Photo Maestro is a life saver. CoverFlux itself is worth any hassle you may have endured up to this point.

bogiesan

[David Bogie]

q[Mike Pavelko] ” I trashed the motion file in preferences but everytime i open motion it is back in my preferences. I need some help please. Thanks in advance”

“A clip” means little around here. There are only about 200 different kinds of clips; what size, what codec?

Is your machine/card/RAM on the approved list of Motion specs or are you on the edge of minimums?

Use google to search for “maximize Motion performance.” You should come up with several articles about lowering the processing and display options, reducing screen resolution, going to draft, and generally lowering your expectations.

bogiesan

[David Bogie]

You’re welcome but using Vegas isn’t easy. This might not be a solution as much as an exploration of alternatives.

bogiesan

[David Bogie]

Sheesh, ask a simple question and you let loose a firestorm of arguments and corrections.

Peter, have you posted a similar harmless inquiry elsewhere? Would you consider condensing the results of those threads into a coherent synopsis?

In the Olden WWUG Days, we’d compile all of our demands for the next rev of Media 100 and ask folks to vote on them. It was a useless project because M100 was driven by an insanely out of touch marketing department who delighted in ignoring their committed power users. and just look at what happened to Media 100.

bogiesan

[David Bogie]

I’d use Vegas to create the ballheads (or headballs) and use the more sophisticated options in Vegas to create the balltails (or headtails).

The documentation for Vegas is lacking but Todd’s AE Community Help should turn up something.

I’ve never used Particular.

bogiesan

[David Bogie]

My 2010 list looks much like my “2007 FCP Wish List.”
a. Fix everything that’s broken or doesn’t work as promised.
b. Make good on all broken promises.
c. Put some pizzazz and color in the interface
d. God bless us, every one, cuz we’re cool.

bogiesan

[David Bogie]

I’d dub everything to DVCAM cassettes and then capture from the dubs. You end up with new copies in a recapturable format.

I’ve no idea what the pixel dimensions of Hi8 are nor do I know what a Miromotion card is. Expanding or scaling the image to fill the frame may introduce artifacts you will never be able to remove. I’d leave it all at 1-to-1. You can always scale the media up while editing or pillarbox it but if you sclae it or crop it on ingest, you’ll never get it back to the original.

You’re not really archiving your tapes to your drives. That’s only a temporary storage solution. All you’re doing now is ingesting. When you figure out what you want to keep and where you’re going to store it for future generations, including descriptions and a method to locate, recover, and view the footage, that’s “archiving.”

bogiesan

[David Bogie]

The most popular codec is DV. Heck, we shoot on our Panny HVX170 in 1080/60i but we can’t use it for anything so we store it for future use but bring it in as DV for editing.

The best codec is whatever you think you need to maintain your subjective impression of image, motion, and color quality while staying within the limits of your machine’s ability to process in your subjective impression of time.

There’s absolutely no reason to over-resolve your stated output codecs which all have varying format settings so it’s still completely subjective. Use whatever you want to use.

bogiesan

[David Bogie]

No idea what those numbers mean, not everyone here knows every one of the thousands of video cameras that have ever been made. Mfr and vintage would help, especially for those of us who refuse to bother to keep track of anything other than our own machines.

180 is the shutter angle, it controls the motion blur, not the number of frames.
Shooting slow motion is a question of OVER-cranking, not under-cranking. You must shoot more frames per second than your intended playback video system supports. I have no idea if your cameras will do that. Open the manuals to find out.

If you can shoot 60 frames per second and drop it into a 30fps sequence, it will look great played back at 30. It will look normal if you put it into a 60fps sequence.

bogiesan

[David Bogie]

Your one question has grown all of a sudden.

Find the most current Intel Macintosh you can afford.
Calculate how much RAM you think you want and budget for it. It doesn’t matter what I think you need but a gig per core is all I need. You will want to include in your budget three or four fresh drives.

If you expect to use Motion, you must have at least a 4870 card.

FCP does not benefit from the GPU in this incarnation which is why you want the most current rig you can afford. If you go for the older Intel, you might not be able to put the 4870 in it or it might not run the next rev of FCP which, rumors be damned, might or might not run on older machines because it may or may not require whatever comes after Snow Leopard.

bogiesan