[Evan Seitz]

Thanks Ari – that’s exactly what I was looking for 🙂

[Evan Seitz]

I don’t think you understand why people are drawn to post production. It’s not that they enjoy adjusting audio levels and making everything broadcast safe – it’s because they love the creative freedom that comes along with it. It’s almost a necessary evil of the trade – and has nothing to do with being lazy or unprofessional, just being EFFICIENT.

If there was a way to work around this (and there very well could be), and you still want to waste your employer’s time with such a tedious task as watching an audio meter for an entire hour of a documentary (or more) that any burger flipper at McDonalds could do, than be my guest. But your completely missing the point of the craft – and as well, coming off quite lazy as well for not looking for a more efficient solution.

If anything, a shortcut to auto-find any unsafe audio levels would minimize the tedious nature of the edit and allow the editor further time to do what they’re REALLY getting paid for – creating an engaging experience for the audience.

I might have taken your post the wrong way, but I found it incredibly rude – and thus I responded as one who was slightly offended by your intolerable behavior. If you didn’t mean it that way, you might want change the way you come across next time.

[Evan Seitz]

Haha thanks – please excuse my duh! moment, lol – but yeah, that worked perfectly!!

[Evan Seitz]

Thanks so much!! 🙂

[Evan Seitz]

I want to make a scene like that – regardless of what is being looked at (ie, the buildings or whatever). All I care about is the point-of-view aspect as if your eye is looking through the scope and seeing that rounder glass and the interior sides of the contraption all at once.

Sorry for the delayed post, btw – been at the hospital all day, but all is good.

[Evan Seitz]

Thanks for the info! I chose those settings because most of the graphics I’m using to fill in the city scenes are montaged together from numerous clips of crumbling buildings, etc. from around the web. And many times, the dimensions of these clips are only so large. Anything bigger than 872×486 begins to lose quality, fast.

Will there be a noticeable difference in quality using 4444?

[Evan Seitz]

The scenes are composed of multiple layered images making up a destroyed city, 720p Sky Backgrounds, Vignettes, and eventually, keyed out actors moving within them (which will be filmed with a HD camera – just not sure which one yet – but probably something along the lines of a 7D).

The footage is already color graded with curves, levels, and hue/saturation in AE and then just plopped into FCP for audio and organizational purposes. Everything in both apps is being done in AE’s NTSC Widescreen Square Pixel preset.

[Evan Seitz]

I see – some great information here, thank you so much!

Knowing this, I’ve got some thinking to do, lol.

🙂

[Evan Seitz]

Thanks for the quick responses!

I have FCP and AE – and the ProRes option shows up in my renderer (which I’m using, not exporting).

Is there a noticeable loss in quality between Animation/PNG and ProRes?

Also, what’s the difference between ProRes HQ, ProRes, and LT??

[Evan Seitz]

Thanks! I’ve figured out how to turn one roach into a particle – but how do I get them to all scatter in the direction of their head (going forward) from the center of the screen – forming a circle clearing?