[Mike Smith]

If the tripod was locked off, lens not touched, camera not moved between takes, then the shots / backgrounds *might* line up nice and clean as you crop … hard to get the hands to meet like this though!

[Mike Smith]

Hi Bob

I can’t replicate PS6 and AE 5.5 exactly;

What happens for you if, when you edit your Photoshop file, you make sure you don’t change the names of any the layers, and then when you’ve updated and saved from Photoshop you open the *.psd folder in AE, select the layer, and from the right click / context menu select reload the footage ..?

All best.

[Mike Smith]

Thanks to all: and Jorje thanks so much – that works a treat.

Realtime color finesse preview on decklink without having to buy echofire – I feel dumb not to have tried before, but when it didn’t preview when AE had the preview output I assumed it just wasn’t workable …

Thanks again.

[Mike Smith]

[Clint Fleckenstein] “Mac is still the standard platform for creatives everywhere (‘cept me, I guess). “

Nice to get a good laugh now and then! Let’s be different – I know, let’s have a standard platform!

Maybe one or two creatives are even working without computers – now there’s a scary idea ….

[Mike Smith]

It would be a mistake to imagine that current broadcast workflows (British or otherwise) are in some ways inviolable, or that there won’t be massive changes ahead.

In the UK, broadcasters could be seen as feather-bedded near-monopolies and have perhaps been slow to adapt to technological advances.

As FCP eats into the BBC culture over the next few years, expect much broader programme-making culture-change: maybe a gradual catch-up with editing models which see fast, fluent tools moving closer to the hands of the programme makers, and away from the technical guardian / button-pusher / online finisher role.

Independent film-making has shown how there are many more approaches than the traditional “offline / online” model, which itself harks back to analogue systems needing engineers to edit (finish really), when offlining was sometimes no more than a VHS cassette and a notepad. Oh the joy when “paper edits” became 2-machine offlines, and then even 2-machine offlines on Avids … but it was 15 years ago.

With luck, we might all have great new tools to make better programmes with … whether from Adobe, Apple, Avid, Autodesk or whoever ….

[Mike Smith]

Decklink Extreme has no firewire functionality. To use a firewire device, would you want to switch to a project using a firewire preset for capture … ?

[Mike Smith]

Can you preview Color Finesse via Decklink ..? How did you set that up ?

[Mike Smith]

Have you looked at Distort / CC Page Turn (with Prod Bundle / Pro versions ) for this ..?

[Mike Smith]

Maybe some misunderstanding here. I think the M2V extension is used by some encoders for the video-only element of the output of an mpeg 2 encoding, if the encoding is output as separate video /audio streams.

Nothing to do with Windows Media sfaik …

[Mike Smith]

I guess the first step is to imagine the future world you’re creating, and how people might interface with machines in it … and to try to do this afresh rather than to copy some other movie’s “take” on it.

Then animate (or pysically build) that … whatever it might be. Do you think physical contact will be necessary …

HAL’s voice activation seemed to work for Kubrick, and Woody Allen’s pleasure cube had its moments … so what can you come up with that’s fresh?