Joseph W. bourke
Forum Replies Created
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Hi Al –
Here’s a behind the scenes segment which shows a number of the shot setups. My guess is that they used motion control timelapse to enable them to put many of the shots together so beautifully. Even this piece is a work of art:
Joe Bourke
Owner/Creative Director
Bourke Media
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You should use the NLE which gets the job done for you, and you enjoy working on. Anyone who works on an NLE that doesn’t get the job done isn’t a professional editor!!! How’s that for a sweeping, blind generalization? Of course results may vary, and product may settle during shipping…
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
You don’t say where you want to remove them from – are you in the multi-track editor? Here’s what the help says:
https://helpx.adobe.com/audition/using/applying-effects-multitrack-editor.html
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
No apologies necessary…that’s part of what an education is all about: learning to ask the right questions.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
I have experience using both Combustion (I was also a beta tester for both V1 and V2) and After Effects, although Combustion was my first experience with compositing software, and Combustion is no longer sold, although never officially EOL’d either.
Combustion had a somewhat confusing interface, and it took a couple of weeks for the “light to go on”, and once I realized the power there, I quickly got experienced with it. At the time, Combustion was far superior to After Effects in terms of the keyer, motion tracker, and rotoscoping capabilities. It also had the ability to keep a RAM render playing live while you made changes to plugins and settings, something After Effects has yet to achieve (although I’ve requested it for years).
On first look, After Effects’ GUI was very confusing, so I’m probably safe to say that, because of the many features and capabilities of any compositing package, it’s going to take a while to get it, purely from the standpoint of navigating the interface, and learning the iconography.
Although there is no longer a version of Combustion, Autodesk, who bought Discreet Logic, is now bundling a version of Autodesk Composite, a node based compositor, with their 3D packages, and it is no doubt based on Combustion:
https://download.autodesk.com/us/maya/2014help-composite/index.html
I got a copy with my 3DS Max 2011 package, installed it, and have never given it a fair chance in terms of trying it out. Maybe others here have. As others have said here, Nuke and Shake seem to be the “big boys” in terms of price and ability, yet After Effects can keep right up with them, although the workflow is different.
As Walter suggested above, it would be very helpful to know what you’re getting at with this question, since there are so many possible answers, none of them wrong. The benefit to me, having now used After Effects exclusively for well over 10 years, is its’ ability to do just about everything I need, given that it will take many useful third party plugins, has expressions capability, and allows for the use of scripts.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
My guess would be that you have to save your .xls files to a simpler format – easy to do in Excel – just do a “Save As” and choose your flavor. My guess would be either a comma-delimited .csv, .txt, or whatever other flavor Premiere Pro lists:
https://help.adobe.com/en_US/premierepro/cs/using/WS1c9bc5c2e465a58a91cf0b1038518aef7-7f91a.htmlThere’s probably just too much formatting information in the .xls structure to work directly in Premiere Pro.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
That second effect could probably also be accomplished with the Tritone effect, which maps colors to the brights, mids, and darks:
https://help.adobe.com/en_US/AfterEffects/9.0/WS2E4DBF61-3721-413c-A549-121DD9BC4284a.html
As Todd said above Colorama will do it as well, with more levels of control.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
Brock –
Here’s a really good place to start your education in film making:
Download the free DSLR Cinematography Guide, and you’ll be on your way to better understanding the terminology and techniques of film making.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
I’d say you’re missing a dedicated package which is made to do just what you’re talking about, and it’s not hugely expensive:
https://www.reallusion.com/crazytalk/animator/default.aspx
I have been a Crazy Talk and Crazy Talk Animator user for several years, and it works wonderfully. It has the ability to lip synch by just adding a voice track to the timeline, and the new version, Animator 2, which I haven’t bought yet, adds the ability to create “3D 2D”, in which the software figures out the various angles needed to make a character turn in 3D space, showing sides and back. It’s a very powerful package.
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com -
I think that there’s a genuine lack of understand as to what an editor/animator/art director/graphic artist/producer does. The knowledge of what is involved with each of these positions seems to stop at the edit suite door.
I worked as Art Director at a broadcast station for fourteen years, and we were regularly visited by the “suits”, from the GM right on down to the sales department, and not one of them had the slightest awareness of what any one of us actually did. Comments ranged from “So what do you do?”, to an occasional angry “You’re just putting video clips together – why is this taking so long!”. And that was in the days (5 or 6 years ago) when many of the job descriptions had actual borders to them. The graphics people did graphics and handed them off to the editors, etc.
Even in this time of informational overload, and the ease of looking up job descriptions, I don’t think anyone (at least in the management and human resources realms) cares to find out what skills are necessary, as long as the job is getting done. This was especially true at our station, which was non-union. Our sister station in Boston was a union shop, and God help you if you touched a piece of equipment which wasn’t in your realm. Camera crews never touched the audio board or editing equipment, and cross-training was non-existent. But this was in the broadcast world, quite a different realm from the post houses and one person shops which proliferate these days with the democratization brought on by cheaper hardware and software, and the death of “high-end” broadcast equipment as we knew it. I can do more with Photoshop, Illustrator, and After Effects for under a thousand dollars, than I could ever think of doing on our quarter million dollar Dubner graphics system!
Joe Bourke
Owner/Creative Director
Bourke Media
http://www.bourkemedia.com