Joseph W. bourke
Forum Replies Created
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This issue was a constant battle when I was Art Director at an ABC affiliate. There were strong reasons both for and against local admin privileges. First, the for – I needed to install fonts (which commercial clients demanded), plugins, software updates and sometimes third-party software.
The against – all of the above as well – anytime you go out on the web you are risking the possibility of an incursion, especially when your location has many computers on a network, and a nice, juicy, corporate target! In my opinion, the fors outweighed the againsts. I would constantly have to track down our IT guy, who, to be polite, had no idea of the ins and outs of font installation and plugin installation. I would have to spend extra time walking him through the processes – essentially a waste of my time.
I never won this battle, but my feeling is that if you have someone who is aware of the risks, and willing to be careful, you’re likely to be safe giving them local admin privileges. The really strong side of my argument was that I was in charge of our graphic servers, their folder structure, and their contents. Yet I was not trusted for their safety. It’s a battle worth fighting though…
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
From what I have found out, having bought a CS6 Master Collection (pre-owned) several years ago; before you buy, you had better find out whether the software had been registered with Adobe. If that is the case, then a license transfer must be agreed upon by the seller, and then, if Adobe still supports this, you must register the “new” transferred ownership with them.
I am still running CS6 and have no problems whatsoever running side by side with Adobe Cloud software. So my caveat to you is, communicate with the seller, and get, via *bay, or other sales method, a guarantee from the seller that, should the software not be registerable with Adobe, you will get a refund. It’s a case of buyer beware. Many sellers seem to think they can just keep the software running and registered on their computer, and sell the discs to make some extra change…
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
How about creating your own? “new ideas” is a bit of a misnomer here. If you’re just buying templates, the ideas are not your own…
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
While the workflow you describe can certainly work, take a look at CrazyTalk Animator studio:
https://crazytalk.reallusion.com/animator.html
It will still allow you to use your hand drawn elements, but import them in to character sets, making the pre-production workflow easier. There are also some very powerful lip syncing capabilites. Take a look at the video on the link above, with the still of a penguin on it. You can download a free version which will give you an idea of how you might use it in your project.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
One really easy was is to use a Layer Effect (on each layer) and fill with the color you want. You can always go back and change it, as well as save it off as a .PSD.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Glad you found the solution!
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
I see what you’re saying. In looking at the Lux user guide, it does not appear that there is any way to get a gobo to effect the volumetric part of the light. When I create this sort of effect, I use 3DS Max, which has true volumetric light capabilities, and will accept still or animated gobo masks.
If you have the CC version of After Effects, take a look at Cinema 4D. There may be a volumetric light capability which will accept a gobo. Yes there is:
https://www.youtube.com/watch?v=qDqiCOASDO4
Joe Bourke
Owner/Creative Director
Bourke Media
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I think you need something like Red Giant Lux to do volumetric lights:
https://www.redgiant.com/products/trapcode-lux/
If it is the Trapcode Effects Suite you have, then you have Trapcode Lux.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
As far as I know, the technique is “check the dress before you shoot!”. In a still, it could be done very easily, but with the angle change, as you describe it, you would almost have to use a 3D package to replace the whole surface. It’s not that your technique is not good enough, it’s that this is extremely tough to take on.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
I ran into the same problem while setting up the graphics department for a news station here in New Hampshire. The news director initially said “Just create it in Photoshop; you can do that can’t you?”. I created the template in Photoshop, but the fact of the matter is, unless you’re a programmer, you’re not going to be able to automatically update the template. Then you will hit the wall of actually getting and parsing the data (especially if you want it free). There is some NOAAA data available online, and other data sources, probably ones for you area, which are free, but getting them into your system requires a certain amount of programming skill in order to put the data in the right place on the screen formatted for your station’s on-air look. They ended up buying a data service, which I built into the Ross system we used for on-air. Even with the fees to the data provider, I was required to do regular tweaks to the templates, as their data formatting changed now and then.
The first broadcast station I worked at, starting in 1994, had what was called a Dubner graphics machine. It had its’ own programming language, but built into it was the ability to take any graphic template on the screen and back-convert it to the Dubner language, which made it really easy to create the fields needed for time / temp / etc..
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com