Jason Byfield
Forum Replies Created
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It certainly has been a bumpy road.
Can you elaborate on what seems convoluted? I’m coming from an Avid background so maybe my FCP workflow isn’t as efficient as it could be.
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I’ll try the updated client but reading the white pages Avid made it sound like this version should only be used if you are transferring data from a fiber connected Unity MediaNetwork to or from an ethernet connected Unity ISIS.
Reading through the other comments, I think we’ll have to try and work locally. Coming from an Avid background I was apparently spoiled by having the source footage and project file in the same location. Guess it’s going to take quite a bit more work to figure out a solid FCP workflow.
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I’m having issues losing renders and I’ve fully updated the Unity MediaNetwork software and the fiber client software. Can I get the machine specs and software versions you’re using for both the client and the Unity?
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Mike-
While I don’t have anything to add to this particular thread, I’ve encountered the issue you described and have yet to find a solution on the COW forums. What did you end up doing to fix the problem? I’ve updated the Unity MediaNetwork to v. 5.1.3 and I’m using the v5.2 Mac fiber client. My FCP renders are still dropping out though…
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Can you tell us what fomat your project is in and what your current export settings are?
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The frames of her glasses look pretty reflective and you might pickup some of the blue background. The solution, as Dave stated, would be a garbage matte for the win.
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If you’re worried about plugin conflict, render out this scene with a lossless codec that can carry an alpha channel (TGA, Animation), and replace it in the comp.
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You don’t even need to transcode. Just drop the proxy footage in a comp, scale up and then precompose so that AE is tricked into thinking it’s scaled at 100% instead of higher. Then you can just replace the nested comps with the high-res footage using Alt + drag and drop. Don’t forget to select the layer you are replacing first though.
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I’m pretty sure that the brush strokes were actually captured in camera using black paint and then in AE the painting footage was layered above the revealed footage. By changing the transfer mode of the painting footage to “Screen”, the footage underneath should reveal itself through the black.
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Don’t be afraid to try out different transfer modes too. I didn’t see any mention of TM implementation on your post.