Jim Kanter
Forum Replies Created
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Not in my office this week to look up titles and ISBNs in my collection, but do a search on Amazon and you should hit several titles.
Jim Kanter,
Digital Film Institute
http://www.dfilminst.com -
Try interpreting the alpha channel as premultiplied with black when importing a Motion project as a clip.
Jim Kanter,
Digital Film Institute
http://www.dfilminst.com -
Anna,
Do you want each “frame” to be a different video clip?
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You think Dean intended his tutorials to run on Motion? (wink, wink)
Jim Kanter,
Digital Film Institute
http://www.dfilminst.com -
Check the ATI website for their x800 upgrade policy. $400 if you keep your original card, $50 rebate if you send your old card back after upgrading.
Jim Kanter,
Digital Film Institute
http://www.dfilminst.com -
First, I’d suggest that you watch the tutorials that come with Photoshop.
Each object will have to go on a separate layer and then you can use any of the several tools for extracting the main image from the background.
Jim Kanter,
Digital Film Institute
http://www.dfilminst.com -
Haven’t seen the spot (no time for TV when spending all my spare time here, haha) but it sounds like a time echo effect.
Jim Kanter,
Digital Film Institute
http://www.dfilminst.com -
Well, you can do dozens of commercials with either particles or the Replicator….
Couldn’t resist.
What is the specific question?
Jim Kanter,
Digital Film Institute
http://www.dfilminst.com -
Select the video clip in the Media tab in the project pane.
Open the Inspector > Media tab (F4)
Change the Frame Rate in the inspector.
As Noah mentioned, there are better retimers out there. Shake 4’s is pretty amazing.
Jim Kanter,
Digital Film Institute
http://www.dfilminst.com -
Education isn’t costly, ignorance is.
I’m always amazed at the number of people I train on Motion who were not advised to upgrade the card, even when buying from a Video reseller.
I upgraded my dual G5 from the 9800 Pro to an x800 and it made a world of difference in Motion’s framerates. You can still bring it to its knees but not as easily.
Something else that will kill your performance is previewing float color space when working in 16- or 32-bit float color.
Jim Kanter,
Digital Film Institute
http://www.dfilminst.com