David Bogie
Forum Replies Created
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Out-freaking-STANDING!
Thank you, Todd, great reference material! Confirms much, reaffirms much, clears up myths, satisfies curiosity, defines terms.
I’ve got that one bookmarked.
bogiesan
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> (We shot a stop motion animation, but we fired the camera manually – 2 shots per each movement – so there is no specific frame rate dictated by the camera). < That was wasteful. All you needed was one shot and you would simply duplicate it in the post-processing. Shooting "on-2s" as you did is a holdover from the olden days of shooting cel animation with a film camera. It was economical to reduce the number of cels per second by half without seriously affecting the image quality at some studios. They shot each frame twice. > 1) how to get the highest Quality possible when converting from stills to video, in order to have minimal losses when editing in FCP < You're think ing about this incorrectly but I can't really tell you why. Still frame animation is as much art as science and it is fully researchable; knowledge you should have invested in long before you started shooting. You don't change the speed of movement of an object by changing the number of frames in post production without seriously sacrificing image quality. If an object took 30 exposures to move across the screen, speeding it up means you wasted a lot of time shooting unused frames. If you need to slow it down, the movement will not be smooth unless you divided the action into 60 frames with less movement between each exposure. Those are stylistic decisions made in preproduction and development; that's the art. > 2) Frame rate when outputting a final product. < This is not relevant yet. You decide on your production frame rate, weight that against your release medium's requirements, and then go to production. You've done everything backwards so it cannot really matter to you or you would have done it properly form the start. Pick a frame rate based on your economics and the amount of effort you wish to invest. Then conform it to your chosen release media. Dave LaRonde's excellent advice will get your stills into AE or FCP. bogiesan
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Hiya Dave, Photoshop, Aperture, MacOS10, and Lightroom all can easily handle NEF.
I shoot with two Nikons (hopefully a third soon).bogiesan
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Practice and feedback and many failures.
Those examples are explicitly and easily reproducible by an experienced designer who is conversant in specialized tools. Such work requires design expertise, a huge amount of aesthetic taste, years of experience, and tons of interaction with people you trust to tell you what’s wrong with your work.
It took me about 5 years to get conversant with After Effects and I still do not understand expressions or scripting even after 15 years. But it’s impossible for me to wrap my head around 3D modelers so I gave that up and hire experts to that stuff.
Practice and feedback and many failures.
bogiesan
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To clarify:
You created a Photoshop document and saved it in Targa format. You imported that file into Motion. It was used as layer to which you applied vertical motion so it was rendered as a credit roll.It should have come in unaltered. Are you sure the media was distorted or was it just in the timeline? Motion will automatically scale stuff to fit the timeline unless you tel it not to.
Why did you save out of Photoshop as a Targa?
bogiesan
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You must have Adobe Flash. It was included in only certain versions of CS3 packages.
bogiesan
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The same post over on apple.com was not productive. We cannot reproduce the OP’s symptoms. We suggested changing fonts, deleting the render files, or altering the Boris clip which would force a new render. I think we also asked what happens if a new Boris clip is created or if the problem clips is duplciated.
Reinstalling the entire studio just to repair Boris seems a bit severe. I’d suggest trying to locate the Boris pieces first, maybe tossing the Boris prefs which may or may not be independent of the FCP prefs.
bogiesan
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As you have concluded, umm, no.
Imagine you have a photo assignment at the Olympic trials. You have been told to shoot still images of a gymnast doing backflips and your camera is shooting at 1/15th of a second to capture his or her movements as elegant motion blur which is much cooler than simulating it in Photoshop.
You have delivered your shots and the Olympic trials are complete. Now your idiot art director comes in and asks you to turn those beautifully languid images into crystal clear, needle sharp shots that could only have been captured with a strobe at 1/10,000 second.
bogiesan
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In the olden days, long before expression controls, we would just assign a series of keyframes for the values and tweak them as needed.
bogiesan
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[Chris Poisson] “Jeeze, thanks a lot Bogie. “
Okay, you’ve got wedding experience, Chris, but it didn’t teach you how to say, “No.” You’ve also got the live event experience to know how to avoid potential problems with careful planning and how to cope with the inevitable issues that will arise between you and the director (who will be on stage) and the bride’s mother.
Do you have a few hours you can set aside to experiment with your combination of formats? You’d want to take a short segment and go all the way to DVD with it to see if you think your client will be happy with the results.
I’m on your side, Chris. I’m just glad I’m not there with you.
bogiesan