Gary Hazen
Forum Replies Created
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“I hate it!” – Rebecca Maguire
Don’t be a hater. Learn how to use the tool, it’s worth the effort. Just about every application used for post production and graphics implements some form of a bezier tool. This includes all the graphics, 3d programs and most of the editing apps. If you intend on improving your skill set then understanding bezier curves is a compulsory exercise.
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Open the position properties for both layers and examine the Z position data. When you create a solid and turn on 3D the default Z position is 0. Positive values are farther from the camera. Negative values are closer to the camera.
Also, try using multiple views to figure out what’s happening with the positioning of the layers.
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Man, that’s an ambitious project. Simple math dictates a canvas of 11,520 x 2160 (1920 x 1080 panels configured 6 wide and 2 high. And that doesn’t even account for bezel width.
I’ve done a fair share of multiscreen projects. One approach is to work with a large comp in After Effects and the render out widows from the large comp for each individual screen. I’ve never taken on anything with the dimensions listed above. I’ll do the editing in a NLE before moving to AE, it helps in establishing the flow of the work before moving on to the giant canvas. Sort of like doing a pencil sketch before doing the painting.
Another approach is to lay out your NLE timeline with each track dedicated to a single screen. In your case 12 tracks. The benefit of working this way is the visual cues of seeing the clips and how they relate to one another. The downside is that constantly turning the track monitors on and off to monitor specific displays can get old fast.
Finally, you can rely on SMPTE timecode to make sure all your events land in the right place. This is my preferred method to work on multiscreen projects. Each screen has it’s own sequence. Add locators, markers or note the timecode where you want key events to occur. Cut the first sequence and repeat 11 more times. Drop the finished sequences into a single timeline, add an effect to scale and position each screen appropriately. Render the timeline, hit play and you have a rough idea of what the end product will look like. Tweak as needed.
All that said, we’re getting way ahead of ourselves. Start at the end and work backwards. What will be used for playback and synchronization for 12 streams of video? What’s the viewing distance from screens to the audience? Is HD necessary for playout or will SD suffice?
Once you understand what the deliverables are you can set up a focused production strategy.
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Nest the comp into a new comp. Duplicate the layer and offset the top layer so it starts when the bottom layer ends. Set your work area accordingly and RAM preview.
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I can’t speak to the strategy of attaching hi quality audio to the proxies. I don’t use AMA – I took it for a test drive and didn’t care for the latency. I import all the proxies on the disc, rough edit and batch import the high res assets from the sequence. Works like a champ.
Regarding disc ID’s, I would assume that the ID would already be on the disc when it arrived at your facility. Each disc must have a unique ID, otherwise you and the Avid will be lost in the weeds. Disc ID’s are typically added in camera or prior to shooting using a deck such as the PDW-1500. Ideally the production company should set up a naming convention for the disc ID’s prior to shooting. Ex: 02-01 for show #2 disc# 1. The last thing you want is a pile of discs with no ID’s and no labels.
“Is there a way of applying a tape name to clips?” – Jon
You can modify the clips in a bin and assign a tape name. By assigning a tape name you’re telling Avid that this media is on a tape. This kills the file import function, you can’t import media off a tape. You’re then forced to batch digitize the material from a deck. If you only have access to a PD-U1 you’ll be hosed. Generally speaking giving clip based media a tape name isn’t a good idea. -
Ampex Vista?
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It looks like some of the end burn clips from Art beats library.
https://www.artbeats.com/collections/160?page=4
These are typically composited over footage using a luma matte.OR
Light leaks effects from Luca Visual FX
https://www.lucavisualfx.com/ -
Next move for a 14 year old??
Girls, Cars and trying to stay out of trouble. -
There are a bunch of ways to do this.
Here’s one:
Add a yellow solid layer above your footage.
Change the mode of the solid layer to multiply.“im fairly new to all the features and techniques with after effects” – mathew lisett
If you want to advance your AE skills you need to understand the fundamentals of the program.
Here’s an excellent place to start:
https://www.crishdesign.com/books/Creating-Motion-Graphics/index.html -
This morning I tied two 210’s together with an ethernet cable and no cpu. One of the units serves as the master the other is the slave. It works like a champ, they’re still in sync after a couple of hours. I think you could syncc three(or more) 210 units together with the addition of a hub.