[David Bogie]

Try Option-R.

When you print to tape, all unrendered, or preview only, items are forced to create new media at the highest quality you have preset for your output. .

Command R only renders items that are selected in the Render Items menu or actually selected. That is, if you select one of the unrendered clips from AE, and then hit command-R, it will probably render.

Knowing what will render when you say RENDER is unnecessarily complicated. A major flaw in FCP’s interface, IMNSHO.

bogiesan

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

[David Bogie]

forgot to include this from Gayle, Keeper of the Apple Forums: :

On November 13th, we will release a new version of Apple Discussions that includes a number of exciting new features.

One of the major features is the ability for customers to mark their post as a “question” and then later mark it as

[David Bogie]

Yes, the answer is crystal clear now.

Seriously, no one on these forums understands this stuff any more than you do, Lars. It’s deep geek, code-speak for Unix code.
Sending the report to Apple seems like a waste of time, we know. But Specialcase asked you to post it so let’s see what he’s got to say.

bogiesan

[David Bogie]

Try telling us where the image came from, what codec you used to render it, how you imported it into Motion and how you have determined the fields are “all messed up.”
What does that look like?
And why you are scaling it in Motion instead of in the source application since you are sacrificing all 3D capabilities in Motion?

bogiesan

[David Bogie]

This is a situation that can only happen in today’s digital world. IN the olden days, 24 35mm projectors and a car-sized video projector or video wall set up for a big corporate event was so freakin’ intimidating that few would think of changing the prezo at the last minute. The difference between “Heck, I can do this on my PC in a few minutes,” and the challenge of integrating changes in different media sources at a live event is lost on boneheads.
And no one understand redundancy these days. Being prepared for anything is a lost art. Most prezo folks don’t know the lamp in their data projector can (and will eventually) fail, let alone how to change it — if they even have a spare. No one carries a backup PC or spare batts for the laptop. They don’t use UPS at the venue. They don’t even have spare batts for the laser pointer/remote.

I’m with Bob Cole, you cannot take responsibility for someone else’s screwups by lying about it. That’s still lying. You demonstrated your professional integrity: you did the rehearsals, you tried to accommodate their last minute changes and it worked. After that, anything can happen. Murphy’s Postulate (it ain’t a law) rules the audio visual industry in spite of digital toys. All you can do is be prepared within the limitations imposed upon you by your client.

bogiesan

[David Bogie]

a. Easily checked on the Airport Extreme product pages to see if the computer is compatible. The unit is old enough to probably only be Airport-capable with the older card/base station technologies.

b. Easily checked on the router mfr’s product pages to see if Apple’s Airport Extreme is compatible.

bogiesan

[David Bogie]

As part of the debugging operation, try bypassing Toast. Read up on using Disk Utility to create disk images that can be burned to DVDs or just drag stuff onto your DVD icon in the Finder.

bogiesan

[David Bogie]

We talked about this at a recent Macintosh user group meeting and here’s what we came up with:
Say you’re using Safari and you’re all over the Cow’s forums. You’ve got six forums open and three posts in each forum. Minimize six windows, one at a time, using command-m. They’re all in the dock. And now you want one of them back.
How would you tell the OS which of the many docked windows you want to come back to full size?

My advice is to give the advanced features of Expos

[David Bogie]

You can fake the optical physics of a zoom lens in Motion, or in FCP, but the tools aren’t really designed for it as they are in AE. Not that I can tell, anyway. When you apply Exponential Scale to two scale keyframes in After Effects, you’ll instantly see what’s going on when you reveal the newly created Scale property keyframes. The linear progression has been changed so that about 80% of the scale operation occurs in the last 10-20% of the time allowed for the move. If your move is 10 seconds, set kfs at 0, 8 and 10 seconds. The really difficult part, in Motion and FCP, is to get a decent Bezier at the 8 second kf.

In AE, it’s practically a no-brainer. That is, it’s a practical use practical math.

bogiesan

[David Bogie]

Since you’re crossposting, please go back and update all of your entries with a synopsis of the answers you receive.
I haven’t seen the spot, or, rather, it made no impact worth recalling.
But I can tell you that all of the iPod spots are dissected soon after they hit the air. You might try searching at a few of the digital video magazine sites.

bogiesan