Jeff Gural
Forum Replies Created
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Yes, the files that FCP has digitized are in the capture folder. But it requires a force quit and then a reconnect media to get moving again. And it usually crashes within the first five clips of a batch. My batches tend to be sixty to seventy clips so it’s really slowing me down.
And then my other crash which happens in logging is where all my logged clips vanish from the project. Those haven’t been captured yet so there is no media to be reconnected. The frustrating thing is that I can save the project and then a second later have it crash and force quit and lose every clip I had just logged in my batch. The only way I’ve found around that is to close the digitizing window and save or to save and quit and start up again.
It doesn’t sound like anyone else is having any similar issues so I’m going to assume this is some sort of weird mystery spot where I’m editing. I’m going to guess that it has something to do with a combination of firewire and Snow Leopard. I’ll try using another form of deck control and see if that solves it.
Jeff
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I have tried multiple cables and the alternate FireWire control settings. But I haven’t tried capturing from the camera. That would be a good way of eliminating the deck. It seems lime a control issue as it happens when I’m logging which seems like the codec would not be an issue.
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Yeah, I tried that and using a fcp utility to trash all the usual fcp prefs and caches. And fixed permissions. I’m starting to wonder if it’s the deck. But then it seems fine on a computer we have with leopard. Very bewildering.
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The problem is that one computer we have issue with is a brand new iMac. So it came with snow leopard installed and then we installed a clean version of fcp. I’m completely at a loss.
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That’s the conclusion I’ve reached too. Thanks for the help!
Jeff
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Burt,
That helps, but unless I’m doing something wrong, rotating in the properties tab is rotating all the particles equally. If I oscillate the Y, then they all rotate in sync. I’m mostly looking for a way to randomly rotate each particle in X & Y like you can in Z. Maybe it’s not possible. I would guess if it was that the controls would be in the master emitter tab. I’m surprised though that wind or vortex don’t seem to randomly spin them.
But thanks for the input. It helps.
Jeff
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Noah,
Yes, I turned on the 3D property. So I have leaves spread throughout Z-space but I can’t randomly turn them other than spin. I’d like to randomly spin on all three axis.
Jeff
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I just played with it for a little while and found it spectacular. I rebuilt a 3D menu for a DVD that took about two hours in After Effects but only 20 minutes in Motion. And the render time is not even 1/5 the AE render.
The 3D is really intuitive and very interactive. It takes a bit of playing with to figure out where certain things are buried. If you drag a group of photos in, they are grouped together as a layer. You can then adjust all the postions in 3D space of each item but also just select the layer to manipulate them all just like parenting in AE. But you have to turn on 3D for the layer which is in a new tab.
There are some nice little things I stumbled on like the fact that when you have turned on record keyframes, all the settings in the Properites tabs turn red to let you know it’s recording. No more accidently recording a bunch of position changes.
There is also a new archive function when you save the program where you can apparently collect all the files being used or save it the old way. This will be nice for archiving and moving to a new system.
Overall it seems pretty well done although I haven’t gotten too deep into it.
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Thanks for the tip. I tested Traffic last year for this same project. I though it would save me, but it got really, really slow when I brought in a large edl with 8 different bins to swap, etc. to the point that it was just faster to manually replace clips. I had it spread across two screens and it just became too difficult to manage and too time consuming.
Jeff
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Gary,
I have been giving that some thought. The problem is that the majority of the content is hand-held run and gun footage with camera operators who are more video than film guys. I’m afraid of getting stuttery pans, etc. Also, the client really wants a reality look to the content and 24 tends to distance it a bit. But thanks for the response.
jeff