Edward Kulzer
Forum Replies Created
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Prefs have been trashed several times; the cache folder and plist removed and trash emptied & comp. restart each time. We even booted in Safe Mode and Verified/Repaired all HDs; and later used FCS Remover & remove the entire FinalCut Suite and did a fresh install. Still, Stereo Linking on A1&2 of any given clip sometimes results in some OTHER audio clip’s layer elsewhere in the timeline being linked up to the pair.
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Triple-G is the FCP Keyboard Shortcut to apply a filter to a chosen section of a clip.
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Not sure if g-g-g “Limit selection” would work for applying Smoothcam; Smoothcam ALWAYS sources back to the entire clip duration.
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When you’ve your multiclip loaded in the Viewer, I believe it’s either in the “Playhead Sync” center button on the top of the Viewer or the right-most “Image / Wireframe” button; you specify for the multiclip whether you want to switch between Vid / Aud/ or both Vid and Audio angles upon switching the angles of your multiclip.
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Once again my thanks; based on your suggestion yesterday, I contacted Brandon and am genuinely looking forward to the work ahead. Very much obliged.
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Thanks Bob—
Definitely not adverse to hiring an engineer for a VERY much needed “take me out to the woodshed for a whoopin'” training. This IS Manhattan, as you say, not the deep-woods of Goshen’s Amish country.
I’m all too well aware of my Grand-Canyon-sized blind spot in technical proficiency, and would FAR rather do the longer ground work of hands-on education / training than to just pay some dude tomorrow, slap a band-aid on my ignorance & move on with today’s problem solved for $250. Frankly, I’d just about give my left nut for that kind of training; it’s been long-neglected and is quite certainly essential.
Thanks for the advice on giving the Tektronix the heave-ho. I received both scopes recently from a long-standing post-house client who was relieving themselves of them; was unfamiliar with the model. I won’t stutter tossing the Tektronix to the curb.
Surprisingly, B&H was out of 75 Terminators; they’re shipping them to me; should have’em in a couple days. The Leader already’s got the Serials and Cb/B Out Terminated, but, even with the Tek weeping sadly on my curb, the extra Terminators’ll be good to have on hand.
The monitor’s a PVM-20L1 with a lot of mileage on it. It’s likely next on the agenda for upgrade.
And yep; I’m down-converting via the Control Panel near-daily. Signal to the monitor via the Control Panel’s 525 Composite & Y/C is flawless.
Thanks for the advice; any suggestions on somebody to kick some technical sense inta me via formal engineering training would be extremely welcome, especially as December’s slow AfterEffects & editing season.
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Definitely worth trying out; using subclips of solely the In to Out (even carefully matching the durations to the specific duration of the Master template in the timeline) didn’t work.
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As long as the editors utilize master clips of the same content, duration, and name, throughout their cuts, all that should be required is to, upon opening the “other editors timeline”, Reconnect Media, clicking to search for the media solely on the present computer’s RAID.
If the media is truly mirrored on both RAIDs, and no mirror-breaking alterations or Media Management have bungled the clips’ unanimity, the reconnect just needs to be pointed to the “new” right place to find the media.
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Ah heck; I never did learn how to HTML-embed.
I see what’s happening in what you posted: the 4 individual “colored-curve” elements seem to be ‘dipping’, for lack of a better word. If you select each of them, and then scan through it, you can see their motion path. They’re actually not “dipping”– they’re moving straight. Each of the 4 individual elements is going straight, directly from the position where they started to the position where they end. ProAnimator isn’t seeing them as “4 parts of the same circle”, it’s seeing them as 4 individual shapes, independent of one another.
In order to get ProAnimator to treat them as a single object, select all 4 elements in the Object Track, [ Down in the Animation Window, in the lower right template box called “Pose Actions”, choose “Pose Grouping” > Select All. Then: “Pose Grouping” > “Make Group”. Once ProAnimator sees them as one distinct object, we can get to the animating.
I’ll take a step back from my recommendation in my previous post— this CAN and most likely SHOULD be done with just one pose (unless you’ve got more in mind— some 3d movement or whatnot). Just ensure that the object in Track 1 (as well as the Object in Track 2, for that matter) are present until the end of your animation if you want them to be seen. Make sure that the dark blue bar of the pose is dragged all the way past the red arrow in the ProAnimator timeline. Anyways— with Object.Track.1 selected, go back down the “Pose Actions”, and in the pull-down menu below Pose Grouping, choose Roll Z. You can fiddle with ‘Rotation’ degree amounts (positive or negative determine clockwise/counter-clockwise), and the timing registers easing-in or easing-out.
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It could be that the values of your poses were somehow lost in the project transfer so that there were no pose changes when I opened it, but just in case they weren’t:
You need to alter the parameters of your second pose in order for the animation to take place during the transition.
Specifically, to make it look different at the end of the animation than at the beginning– in order to get your colored bits to rotate around the circle— , well, that means that you need to change the Z-Rotate ‘Around Common Center’ value in the second pose to reflect where you want them to wind up at. The transition between the two poses will conduct the actual animation, many variables within the Transition’s “Timing”, “Paths” and “Path Action” palattes which can alter variations.
Right now, it seems that, in your Pro-Animator instance on the Patient-3 layer, you have 2 near-identical poses, with no rotation specified. Unfortunately, no spin will happen unless you tell it to.