Mark Suszko
12
Apple Final Cut Pro X Coins
15
COW Coins
2
Premiere Pro Coins
4
Apple Motion Coins
Forum Replies Created
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The keyboard looks well thought-out, with ergonomic, haptic, “retro” touches an old 141 operator like myself can appreciate. I wouldn’t need it at home, but, I can definitely see work situations where speed and accuracy are key could benefit from the keyboard. Sad you have to pay extra for the Neural Engine effects, but the price for that non-free version still makes it cheaper than FCPX bundled with Compressor and Motion and Logic. Their marketing guys are shrewd.
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After seeing the “face-melting” demo of the FREE Resolve 16 today, I would leave seven and not look back. Leaving Seven no matter what in four days when they come to surplus my 8-core mac pro cheese grater. If your machine is capable of running Resolve, I would say it’s the way to go. Timeline choices that include a mode something like FCPX for speed cutting, or a conventional FCP 7 type timeline. But all the extra features that come along with it for effects and audio and color timing…
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Just saw the Resolve 16 demo and it melted my face clean off. That is an incredible package, blows Premiere away and looks very competitive to FCPX.
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Does your rig have GPS course plotting and geofencing? My idea is, you program the autopilot to waypoints of identical altitude, and heading for each new start/stop point of the segments. To stitch the shots together, you’d want to try a morphing effect. Because of the time shift and lighting shifts, etc. it’s not going to be perfect. One way to hide that could be to command the camera to slew from a front-down view to a side horizon view as you get to the end of a section, then cut back to the forward view at the transition point on the next one.
If you want something truly continuous, Blaise seems to have the right idea.
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iMac 27 inch late 2013,
3.5 Ghz Intel Core i7,
32 GB 1600 Mhz DDR3,
NVIDIA GeForce GTX 780M 4096 MB -
Tried it yesterday on a 25 second clip, and it took overnight to render. Results were… interesting. Slightly surreal. It needed to motion-track, and I hadn’t set that up. Would I have to go create nulls and all that, or just find a trackable point and let it track forward, before invoking the Content-aware fill?
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I’m trying to test it out right now, filling in the sides of a scene where I want to roto out the lights and stands and grips, etc. I’m not sure what the steps are, but I drew out a mask, asked it to fill, it sent me to photoshop to define a base image from which it will extrapolate, I saved that and hit “apply”, and it’s now chugging away at “something”, but the progress bar is super-slow, don’t know if I’ll see a result before COB today.
I could use a plain step-by-step Dummie’s guide to this, but my stumbling thru the Adobe Help gave me no hits. Hope someone here makes a tutorial on using it soon. (Hint, Hint)
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I think there’s an offset control in the panel
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They’ve been teasing this for, what, 3 years now, but I’m excited it’s coming out. This is the first tool in AE that would make me prefer it over Motion. I’m already thinking of creative ways to apply it, besides just repairing shots and backgrounds.
How well do you think it can do to add crowds to a stadium shot? Anybody try that yet?
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Can’t be the frame rate since the playback is correct. It’s just way longer than the material. It must make a difference where I drag the file from, to put onto the timeline.
Update: that’s it. The weird duplication doesn’t happen if I navigate to the media browser and drag from there. If I did it the original way I was doing it, the timeline filled-up with multiple copies of the footage clips, followed by low rez bitmaps that are the picons for the clips,then the associated audio files, by themselves. If I marked the extra stuff out and killed it right off the bat, I could still edit on the timeline and it would be the right length then.
