[Mark]

I like Particular, as it works in 3d space (you can create the particle effects then take a camera and fly around the particles).

I always found Particle playground complicated and very heavy on computing ressources.

Mark

Mark Harvey
Senior Editor
Le Réseau des sports

[Mark]

Maybe it is a video card issue…have you tried updating the drivers ??? Also, you shouldn’t have issues in Ae with AVI files, but the others may be on Dave’s infamous list.

What video card are you using ???

Mark

Mark Harvey
Senior Editor
Le Réseau des sports

[Mark]

Unfortunately, I am not too familiar with the ProRes codec…I am an Avid dude….but could you not render out of AE back into the ProRes codec.

Also, when you say that it is all footage that you are adding motion to, what excatly does this mean ??? If you are bringing footage from FCP into AE, then you still need to make sure that it is being properly intepreted by AE…maybe AE is deinterlacing, and shouldn’t be….

Mark

Mark Harvey
Senior Editor
Le Réseau des sports

[Mark]

for the Avid bins from the Attic, you have to add the file extension “.avb” to the files. when Avid creates the bins in the Attic that extension is left off so that they are not included in the database.

For the hardrive, if you are looking in the right place, but there is nothing, then it sounds like the drive has become corrupted…does the drive mount properly ??? It is a PC striped drive ??? (NTFS) I have had issues with drives that were striped for MAC not mounting.

Mark

Mark Harvey
Senior Editor
Le Réseau des sports

[Mark]

1. 3d stroke should get you most of the way there. this is a plugin from Trapcode.

2. A basic solid layer with a tint effect, fractal noise, and either corner pin motion tracked (I doubt), or hand animated…the layer would need to be set to 3d for 3d rotation properties.

Mark

Mark Harvey
Senior Editor
Le Réseau des sports

[Mark]

I would have to see your render settings in AE, and not just the comp settings… One thing that I notice is that your comp is set to half res, which is fine, this is just for previews in AE and allows you to work faster….but, make sure in the render settings you are using Full resolution as the output. Also, are you rendering out to 23.976, or are you rendering out to 29,97 with a pulldown ???? All important questions. One more thing, are you properly interpreting the footage and fields etc of the footage that you are bringing into AE ???

Mark

Mark Harvey
Senior Editor
Le Réseau des sports

[Mark]

A few things…

First, open the file in QT (If it is a QT file) and check that there really is video in the file.

Second, if there is video, in AE, in the project window you will want to right click the video and select intepret settings, now go to the alpha section and click none.

Third, what type of video are you trying to bring in ??? Dave Laronde has an excellent repsonse to this type of thing that states what formats AE hates….maybe you are trying to bring in one of those formats.

hope this helps

mark

Mark Harvey
Senior Editor
Le Réseau des sports

[Mark]

Try opening the bins in a new project. If that doesn’t work, then go find the backups of your bin the Avid Attic and rebatch those.

Have you checked if the media actually got put on the new drive when you performed the consolidate ???

Mark

Mark Harvey
Senior Editor
Le Réseau des sports

[Mark]

Seems like his site is down for the time being.

Mark Harvey
Senior Editor
Le Réseau des sports

[Mark]

I cut commercials and promos for a living….I have done so for the past 10 years. I understand what you are going through in questionning what makes a good editor, as I have been there. As Charlie, long form is not my thing.

As many have said, what makes a good editor is the ability to help the cut. Offer suggestions of how to get around bad cuts, bad shooting, and things like continuity issues. Also being able to suggest and change things to make the spot work better.

I have worked with directors who use a storyboard religiously, but there is no harm in performing their cut, and then asking them to get a coffee while you duplicate the sequence and try a recut. Most directors i have met appreciate this. I guess in some respects I am very lucky, as I am a staff editor at a broadcaster and most of the directors will give me quite a bit of lattitude….also i have found that the external clients will give me creative freedom when they see what i am capable.

Being able to put the client at ease allows you more freedom. a director can sense when editor knows his craft, and of course the machine he is performing the work on. I have had the odd director who stands by his/her storyboard and does not want change. I do make suggestions, but when I see that he/she is not open, then I concentrate on the trimming and colour correction/treatment.

A lot of times, because my schedule has me starting early, directors leave me e-mails and ask me to get started. I always ask for their concept, how they saw the spot in their mind (treatment, colour etc) and their music. If there are special spots that have to go with a part of the Voice over, then I also need to know about that….usually with this information i can get a good start on the spot without them showing up.

One more thing about being a good editor, in my opinion, is the ability to be able to find the right shot. To be able to find the exact frames that convey the emotion or message, and also the right frames that will transition you into the next shot.

Hope this helps

Mark

Mark Harvey
Senior Editor
Le Réseau des sports