Joseph W. bourke
Forum Replies Created
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It makes sense that FCPX could work out in the newsroom. Our photogs at the station I used to work at were also expected to cut the news stories together when they came in from the field, and that was done for a looong time from beta decks and an a/b roll system. The chief photog swore that there was no need for NLEs in the news sphere and that he’d never allow one to be used in his department.
Well, when they finally went with NLEs, they went with AVID Newscutters, which were so complex, the photogs had to take the expensive AVID courses to just get up to speed. Something like FCPX would probably be just what the doctor ordered.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Sorry, Tony – I didn’t add “in your town” to my first statement.
But of course since you didn’t even say what town you were in, I thought I’d provide a list of towns where they are using it. I just wanted people to know that there are plenty of broadcast stations using it, just as there are plenty of broadcast stations using AVIDs, FCP, and other tools.
I don’t even consider it a fight – we use the tools we are given at the jobs we have. I’m now owner of my own company, and I chose PPro. I’ve used Edit*, AVID, and Premiere Pro, and I happen to prefer Premiere Pro. They are all tools, and each of them can get the job done.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
You say no one in broadcast is using PPro. Here’s a list of Hearst stations who’ve dumped AVID for PPro:
Boston, Tampa/St. Pete, Orlando, Pittsburgh, Baltimore, Louisville, Kansas City, Milwaukee, Cincinnatti, Oklahoma City, New Orleans, Des Moines, Omaha, Sacramento, Albuquerque, Honolulu, Montery.
That’s just a partial list of the 28 stations who dumped AVID and went to Adobe PPro and the Creative Suite. Maybe not in your market, but in lots of other markets. I was at the Manchester, NH station which spearheaded the change. AVID promised the world, but gave us an orphaned HD card, a mass storage sysem which lost more files than it shared, and a big cut in editing productivity.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Hi David –
My suggestion would be to duplicate the Comp, using the Project folder (CTRL-D), close the project, and then move the folder with the initial b/w sketches. Re-open the project, and you will get an error, saying the files are missing. Go to the new folder, and pick one of the new files (colored) with the same name. AE will then find all of the files, replacing b/w with color.
Another thing I might suggest is that, instead of using 2 comps within the same project, you might want two projects, a b/w one, and a color one. You would use the same process, though.
If anyone can think of a more elegant way of doing this, please weigh in.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Hi Mo –
The final output on a 30 minute project in just about any codec is going to end up huge, depending on where you intend to play it back. If it’s going to the web at 640 x 360, we’re talking a lot smaller; if it has to stay in HD rez, we’re talking huge.
I would suggest doing some tests of a portion of your project in Quicktime (MJPEG-B, at 95 percent is a good start – good quality, good compression), and seeing if your masking and everything are intact. Then if they are, bite the bullet and send it over to Premiere. If you’re happy with the results, you can always delete the intermediate render.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
I would suggest taking multiple copies of these animations, and putting them in 3D layers in AE, positioning them so as to be centered on each other, but rotated 90 degrees on the x and y axes. Then put the layers on top into Additive Mode, create a camera, and rotate the camera in various ways to give you different looks. You can also fly the camera in z space, giving you entirely different looks, depending on the cross-section you’re looking at.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Yeah Roland –
I’m surprised that one of the most vital statistics of a video clip isn’t shown in either place. What would be really cool, in addition to having a sort of CTI and clip length as part of the metadata, AND part of the preview pane, would be having the ability to mark in and out points in the metadata, which would then translate on import to AE or PPro.
I’m sure that’s going waay too far beneath the hood, so I’ve put in a feature request for adding the Duration info to both Metadata (in the Video tab, of course), and to the Preview pane, to show both the Current Time in the playback, as well as the Duration/Length. I always assumed it was there as well. Double Duh!!!
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Thanks Todd –
I can do that, but it requires multiplying the scale value times the time value, going a bit too far under the hood to make that info useful. I would have to write a script to work that math, and then, as far as I know, there are no custom fields in Bridge which would allow me to display this.
It would be most useful to just have the switch in Preferences in the Thumbnails/Details preference, to see that value right in the Bridge Browser if I wanted to. It would also be very useful to have that info show (maybe even in a “live” version) in the Preview window when I play a file, much the way it works in Windows Media Player, QT Player, or VLC Media Player (like the CTI, with total length as well). I’ll submit this as a feature request.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Are you looking for something such as this:
Or do you want the flickering, rolling, cylindrical Zoetrope type of effect? I know there have been tutorials on the Cow, and I think they call it “flip book” effect. Not exactly the same thing.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Another guess at this would be that changing the aperture as opposed to the shutter speed would effect depth of field. It may be setup that way so as to keep DOF consistent in a shot series.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com