[David Bogie]

> I’ll set a keyframe for point of interest and position, then do a simple dolly in move, set a keyframe for POI and Position again, play the animation back, no problem. Then I move ahead in time, position the camera up at an angle, set a third set of key frames for each property, now my animation is wiggling around right at the beginning. < You cannot use POI and Orientation/rotation keyframes at the same time. AE gets really confused. Use one or the other or use a null to guide how your camera points. bogiesan This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

There is NO inherent superiority in Apple or Macintosh. None.
All OS fail or crash; all hard drives eventually die.

You buy an Apple because you love the Macintosh OS. You y FCP because you have the stomach for Apple’s bizarrely myopic and stubbornly non-conformist paradigm.

To switch form a platform that you enjoy to one that you may detest would not be good. It is absolutely crucial that you take one of your short projects to an FCP station and see if you can stand it.

bogiesan

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

[David Bogie]

Yar, understood.
As noted, you must replace the AGP card. Consider the long term implications of putting cash into the G5 to run the current versions of what might soon be Apple’s Intel-only video apps.

bogiesan

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

[David Bogie]

That’s a good start.
Which of the dozen or more “HD” formats?

bogiesan

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

[David Bogie]

If you must do this regularly and expect to enjoy doing it and to get paid for it, buy a PC. Export your sequences as self-contained movies in a format your PC will recognize, transcode them over your network on the PC to AVI.

AVI is s-o-o-o 80s. You need to determine why your clients need AVI. They probably don’t, they just don’t know any better.

bogiesan

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

[David Bogie]

The main issue with Boris stand-alone effects systems is their weird interface. But, umm, that’s why I can;t stand to use Motion. I’m completely brainwashed after ten years of After Effects indoctrination. Also depends on your workflow and needs to integrate with other applications. If you edit in Premiere, Motion is a waste of money.

Try to come up with a simple 30 second project and then build it using the demo versions of each of the applications. Or try to find buddies who have the apps and will let your test drive them. The paradigms and the project workflows totally different.

My advice: Buy After Effects. If you need some of the ultracool and unique Boris filters, buy one of their AE plugin sets.

Like Aperture and Soundtrack Pro, Motion is a useless eater of drive space on my systems.

I use After Effects almost every day.

bogiesan

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

[David Bogie]

I hope you get contradictory adive but I’d suggest you upgrade the Mac not the card.

bogiesan

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

[David Bogie]

> I have a scene that I’ve rendered a beauty pass of and a shadow pass. I’ve rendered a third ‘normal pass’ which I’ve heard you can use to adjust lighting effects on the scene< I hope you get better responses soon but, speaking for many of us, I have not seen these terms used in general After Effects parlance. Are you brining these passes in from another application? bogiesan This is my standard sigfile so do not take it personally: “For crying out loud, read the freakin’ manual.”

[David Bogie]

Walter, you have performed a service of incalculable value. You are going to go down in history as the best advocate Color has.

Good grief, WTF? When this product was intro’d/demo’d at NAB, did anyone in the audience jump and down and scream, “Who was the freakin’ dumbass who designed THIS piece of junk?”

I’m safely assuming, like LiveType, Apple merely bought the toys and shoved it through a code mangler without ever spending a dime to make the interface user friendly, intuitive, or in the least bit Mac-ish. How hard can it be for a bunch of Apple coders to make a professional Apple video product useful and elegant?

What a crock.

bogiesan

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

[David Bogie]

After Effects Stabilize Color will handle the job but it could take forever to render.

Motion Blur in FCP will help but at the cost of imposing some, umm, blur. But it will tend to average out the frames.

There are other methods. In the olden days, we brought 30fps interlaced footage into a 60fps progressive comp in AE. This made every field a full frame. Running frame-averaging filters had a more subtle effect when the rendered 60fps movie was brought into a 30fps comp.

Dunno if it will still work, I haven’t tried any of that stuff in several years.

bogiesan

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