Jonathan Ramsey
Forum Replies Created
-
Yeah, should be fairly straightforward in After Effects if you have good footage (read: black BG or green screen; the high key lighting also helps). Play with offsetting the video clips (yes, in layers) and opacity first. Then see if you like changing the transfer modes a bit for different looks in the ghosting. She has some color effects thrown in there, too, so you could mess with that. Just get in there and play… playing is a GREAT way to learn 🙂 This could be hard without good footage. If you are not using AE, you can still do it in PP but it’ll be a bit more cumbersome, IMO.
-
Works on a 2020 iMac with all latest OS and PP. PP is very buggy, in my experience, with what OS and PP update you have. It’s infuriating how you have to seek the perfect combination. Could be the sequence is corrupt. Try it on an auto-save version.
-
Thanks, Todd. The screen, in these locations, will suddenly overexpose. Some are for a frame, some the duration of a title, some for just part of the duration running during an adjustment layer (as examples). In one location the title comes on and at the same frame, the Lumetri color corrections stop working. I’ve attached screen grabs of the color correction issue and the overexposure. I’ve tried exporting without the titles on, etc. I’ve replaced the adjustment layers. Nothing works except exporting in a diff codec.
-
That is a good tip. I think you are right, there is no way to treat an effect like a template. Thanks for the reply!
-
Do you conform all the projects with one “flavor” of proxy? That could be a massive help. You could also periodically collect a project to the used assets and work off a version of the project that only has those used assets in play.
-
Hi. Ideally you would have a drive array in RAID 5. That way if a drive fails, you put a new one in and it rebuilds everything. Otherwise, your backup system is an option, of course, which is similar to a RAID 0 array. Those are faster but riskier. RAID 5 is worth the speed loss in most cases. There is a lot to a RAID array and you want hardware not software striping. Of course, use the fastest port you have (thunderbolt, etc.). As for budget, I prefer the CalDigit drives but even more affordable are the G Technology Drives. I haven’t used those but I know some long form doc editors do and are reasonably happy with them. People will debate where you put your project and cache files. For starters, just follow Adobe’s recommendations and go with that for the time being. Put the cache files on a diff drive than the media. The project file can go anywhere… it’s really small. But back it up with regularity as they are notorious for going corrupt with large projects. Good luck!
-
Thanks for the tip! I’m surprised that Adobe can’t handle really large images. I’ll look for something that may be tripping it up. Happy holidays!
-
Well, I’m sure glad you mentioned having the same problem with the memory. I put it back in and did the double tap and it seems to be working. Whew! SO ODD. As to the Nano coating — doesn’t surprise me that Apple has put a premium price on an every day technology. Well, off we go! Here’s hoping we don’t regret it and that the silicon situation with future Mac machines gets fully baked before we need to trade these up.
-
Wow, I’m surprised it’s so notably weaker than your 16 core. Right, it should be… I know. But early reports suggested you wouldn’t notice it except on a few very specialized tasks. Where do you feel it?
As for mine, I just got it set up today. The memory you pointed me to looks great online, but installed, the iMac won’t boot. I’m sending in for a replacement and hoping it was just a lemon. Except that there are four of them. All lemons?! I don’t know. Otherwise, I’ll up the ante and get some Crucial cards. It’s definitely not a fun way to start on a machine. That said, I LOVE the nano coating.
-
Yup. That’s spot on. The other way to do the same thing is to take the original file, create a seq from it (match settings) — that way you know you’ve matched all the variables. Then, stabilize the footage in that seq. Then take that seq and put it into your editing seq (which will nest it).
