[David Bogie]

> Another possible solution is to copy your audio and past it in another audio track & lining them up together. < Yar, used to use that till I discovered Dynamics Processor under AU audio filters. Far more interesting and useful. bogiesan This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Trim.

I’ve read Murch’s books and I still do not understand his fascination with the trim functions. As crucial as trimming seems to be to many Avid and FCP users, I’ve never used it. Never used the trim window in Media 100, either.

signed,
bogiesan, interface luddite.

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

[David Bogie]

> Not sure the interface is going to change. Hopefully it won’t. It’s a very efficient interface as is.
< No, it's not, Walter. And, yes, it should. Just because you get it and have created a cool little (and VERY helpful, thank you) video on how to get past the first screen, doesn't imply we should tolerate Apple's bizarre violations of their own interface standards. This preponderance of weird and dramatically different interfaces, terminologies and dialog boxes within the structure of a "tightly integrated suite" is lazy and your position that Color is a professional application is somewhat elitist (and I mean that in the best way possible, Walter, there's nothing wrong with us being elitists or we wouldn't be so certain about our positions, would we?). The FUNCTIONALITY of Color should not change but its usability definitely should. And fast. These will be the issues professionals will use when arguing for switching to Adobe's suite. It really is integrated. Mostly. Sort of. Except for Flash, Illustrator, Photoshop, Dreamweaver and Premiere, they all match. bogiesan This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Yar, you need to realize multiclip is actually an effect. Depending on the usual factors, your RT playback of mutliclips varies.

Of all the posts we’ve seen here about multiclip not working, 99% of them turn out to be user errors. Suggest you experiment a bit first before you go into a project that depends heavily upon multiclip functioning flawlessly. Applying effects to mutliclip clips is especially weird.

bogiesan

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

[David Bogie]

“You’re so full of crap, bogie.”
“So don’t use it, dickhead.”
“You’re so right, bogie.”
“Premiere rocks.”
“Media 100 was so cool.”
“Media 100 was so awful.”

You guys are s-o-o-o predictable.
Oh, wait a second; that means I am, too.

bogiesan

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

[David Bogie]

I realize you’re angry. We normally advise our FCP friends not to attempt to upgrade in the middle of a project for just such reasons. Too many unpredictable results are possible.

You can attempt to do what we call a scorched earth reinitialization of your system drive. This requires reinstalling everything and updating everything. Personally, I think CLEAN INSTALLs are a disastrous and wasteful expenditure of time but you probably have no choice now.

You can always try reinstalling FCP6 only and running all of the software updates.

Assume you have already run disk utility and attempted to repair privileges. You can also attempt to run disk utility and repair the drive if you start from your Mac’s installation disks.

good luck, keep us posted, someone will be around to offer more helpful advice but it is a holiday.

bogiesan

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

[David Bogie]

Yar, that gray arc thingy was easy. The rest of that comp took several people many weeks to create. And the project seemed to enjoy the services of a competent designer and project wrangler.

The gray arc effect was relatively easy. The design was inspired and required solid grounding in knowing After Effects can do and how to tell the animation staff how to do it. That takes lots (LOTS!) of experience and endless hours of failed renders. “New to AE” is a problem in this case.

bogiesan

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

[David Bogie]

Which direction we suggest you take will depend a bit more on your visual context. Do your tracers need to be real or cartoony? do they have real ballistics or do you ignore physics? What is the ratio of tracer to normal rounds and are normal rounds visible? Is the source/muzzle part of the scene?

bogiesan

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

[David Bogie]

The topic of creating rain comes up often around here so be sure to use the search function, restrict to AE forums.

the issue is always believability. Making natural phenom from simulators takes lots of work or they just look fakey.

bogiesan

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

[David Bogie]

Heat distortion is a function of delaying and bending some light rays due to fractional differences in air density caused by heat. It is a function of refraction, not a focus effect. Whatever the source for your displacement map layer, it must be chaotic if it is going to sell the effect. Any hint of rhythm or looping and the illusion will be lost on today’s discerning audiences.

sample image of race car exhaust through super telephoto lens:
https://sleightofhand.smugmug.com/photos/163699136-L.jpg

wiki entry for all kinds of optical phenomenon:
https://en.wikipedia.org/wiki/Optical_phenomenon

go to the next level of abstract physics/optics:
https://en.wikipedia.org/wiki/Schlieren_photography

bogiesan

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