[David Bogie]

I can right click or control click a clip in the timeline and change its label. It’s easily done. It’s a lame implementation because the color is applied in an obtrusive way that makes audio waveformsand the poster frame difficult to see but it works.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

The only way I’ve gotten around this is to pre-render the stacked layers, reimport the movie, apply the transitions. Tedious but entirely workable since I had to do much more complicated hacks in my old Media 100 days.
Or I go to Motion these days and rethink the whole thing.

If you examine many of the effects and transitions, you see that most are simply useless for complex projects because they do not process transparency as expected. Been like that since v1. I don’t think it’s ever going to get fixed, as much as I agree it is a really flawed implementation of pixel processing.

Personally, I’d much rather see all of the other broken junk in FCP corrected, fixed, engaged, and activated before Apple devotes energy to fixing effects. But that’s just me, I fully appreciate others’ lists of priorities are different.

They’re wrong, of course, but I respect they’re differences. (joke, it’s a JOKE!)

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

These are variously known as Baseball Supers, Pills, or Lower Thirds. The ways to crate them are as endless as your imagination and patience. LiveType comes with many presets for lower thirds. So does Motion.
In FCP you can use the solid or gradient generators to create your little bars and then use Outline Text. It’s a Boris tool and may be more familiar to you.

Welcome to the family. There are many disaffected M100 users here. In fact, you can search for the term and find most of us in the threads. We miss certain things about the mature elegance of the M100 interface but we never looked back.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

[Benjamin Arseguel] “I’m having problems with my deck not responding to the G5, getting “no communication” messages soon after plugging in the firewire 800 wire and hitting capture now, or anything. (Is it normal to have the amber light over the tape icon in the front go on when a tape is put in?)

Let’s start with the easy stuff:
1. Has it ever worked for you at all or is this a new problem?
2. You should have the deck plugged in and powered up BEFORE you you start the Macintosh. (Do not ever plug or unplug FW with power on; there’s energy on two of the leads and they’re notoriously easy to short.
3. There is a REFRESH external video devices in the View menu (um, I think so, I haven’t used FCP5 for many months now).

[Benjamin Arseguel]Also… when I use my Canon XL1 to capture, there is communication, but the video I capture is jittery and speeded-up.

You shot MiniDV on the Sony, at a slower speed, and the Canon is playing it back as DVCAM, faster. Canon and Sony do not play well together even under the best conditions.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Zaxwerks? Never used it but I think there are real 3d primitives in Zax and there used to be a free demo.

The problem with CC Sphere is that it only maps pixels to a 2d simulation. It requires a 1×2 image. The seam is always a problem and the pinch at the poles must be compensated for upstream, not in the filter. You design the poles to be distorted outside of the filter so when they get pinched, the distortion becomes invisible. It’s not hard to do, actually, just takes patience.

Hope you find a useful solution, CC may not be it.

You should be able to find someone who can build this for you on a PC an just give you the movies.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Head to the school library and see what they’ve got for past issues of theatrical lighting magazines or hit the Web to see what’s happening in this interesting application of video projectors. It’s been going on for several years.

There’s nothing different about using a video projector than using a slide projector, movies, or a moving disk image in a leko or Trouper. As noted, black is the absence of light form the projection.

The main issue you must deal with is the scene’s ambient light overpowering the projector’s relatively weak beam. If you’re hitting side curtains, you’ve got to keep them masked off so your lighting designer will need lots of time to integrate video projectors in to her light plot.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Can’t tell form your post:
Are the flies on separate layers or groups?

You can easily set behaviors or randomize parameters to the individual flies. This assumes your anchro oint is in the center of the fly.

Try disabling all but one while you experiment.

The use of an emitter to create the nine bugs would be a good thing to learn. I’m not sure how you’re going to make moving object selectable as buttons in DVDSP, though. Let us know how that works out.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Radial Shadow works well, too.
But creating a 3D layer of the shadow and letting it interact with the back plane, also set as 3D, is way cooler.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

SoundtrackPro can be taught to understand, search for, and eliminate much of the offending noise values. However, RF, even though it is fairly narrow band of frequencies, is typically omnipresent and obtrusive. Attempting to filter it out is likely to remove lots of other audio information.
I’m not at that machine now or I’d try to be more help, someone else will be along in a few hours to be more specific.
See the online manual for STP. Look for noise removal (but that’s not what the function is actually called.)

One must ask how such incompetency was allowed to continue past a quick mic check and test recording. Tehre is another kind of wireless mic interference that cannot be heard while recording. It is caused by microwave-based motion scanners and old-style room occupancy sensors. This stuff cannot be removed. We’ve tried everything.

good luck.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

We do this every now and then. Using the camera’s native raw image format is not a good idea. You gain nothing unless you thoroughly understand the workflow down to the very end of the delivery package. Your raw images will over-resolve the end product by a huge factor. As noted. 2k is way overkill for any possible release as video.

Assuming you shot it well and your exposure was carefully matched, run a batch through PS or Aperture (or whatever) and convert your images to a workable size that does not exceed your release medium unless, of course, you’re planning on doing motion work on the still images. We do this in most of our stop action projects because it’s often easier to move the frame around than it is to move the camera during shooting. But we know we plan to do that going in.
We convert our stills to jpeg for conventional DV format but your needs will be different. We convert the sequences to movies early in the process so we’re dealing with clips, not bunches of stills.

Did you shoot on-2 or at full temporal rez? QTPro and Motion will both import properly numbered image sequences as movies. QT will allow you export the movie, Motion will render it for you, too.

I shoot with a Nikon D2 directly to jpeg or I shoot NEF.
1. Aperture to batch the jpeg and rename the stills.
2. Motion to assemble the stills into movies and export the movies
3. After Effects for the creation of 75% of overlay effects (and stuff I know how to do in AE easier and faster than I can do them in Motion)
4. Motion for about 10% of the effects including 3d emitters, replicators, unique text items and use of the extensive library elements
5. FCP for the marrying of all the elements and transitions.

bogiesan

This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”