Rob Dunford
Forum Replies Created
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Steven, thanks for the input, so far having those ’empty text layer’ is not causing a problem, but I will tryout your method.
One thing I do find frustrating, is with one text path, I wanted the text to make a gentle arc, but I struggled for quite a while fiddling with the handles to make the arc look symetrical and centred. I did wonder if there was a short cut.
What is ironic for me, I bought Motion thinking that would do everything I needed to make this logo, but I found that AE actually did some tricks that Motion couldn’t do. I love both programs, but the one effect I was looking for I couldn’t find in Motion but made it happen in AE. This was to create the text effect similar to LiveType font “Spotlight” but using the clients preferred font.
Rob D
UK -
Hi Bogiesan
I now have Shine and it looks great, but it still doesn’t give quite the ‘Spotlight’ effect, I am making up a TV logo/ident and I wanted to have the light travel down the station name, but for most of the effect the word is obscured by the light rays. How could I make each letter shine in succession without obscuring the whole word and finish up with no shine effect. If you have a look at the Spotlight font you will see what I mean.
Thanks in advance
Rob -
Hi
Thanks for the tip! I found the software, tried it and bought it. It looks just like the Livefont effect and lots of manipulation. Thanks -
The look I was after is the same as the livetype font ‘Spotlight’ where the letters are backlight by a travelling spot. Is that clearer?
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Thanks for the input. I guess just ‘playing with it’ has opened my eyes to it’s possibilities, so that is colouring my hardware list. I think I have plumped for a refurb 2.3ghz and replacing the GPU with the ATI 9800 SE plus a wodge of extra RAM. I am hoping this will give me a nice system for some Motion investigation and more intensive FCP work. I know the GPU is not the most powerful but I think it’s recieved some good reviews.
Thanks
Rob D
UK -
I agree about the clapper method and I used it to great effect and success on a recent shoot with my FR2. Syncing up is a doddle in FCP 4/5 and probably just as easy in other software. I was ploughing through hundreds of clips in a matter of hours.
Hope this gives you support, just check on long takes that the sync doesn’t slip over time
Rob D
UK -
Hi
I was recording at 48khz@24bit, since the film was shot on DV there was no good reson to go higher. So i was getting around 4hrs on the 2gig card and half on a 1gig card, both cards performed flawlessly and since we were doing all the syncing in post from a simple clap at start of take, having discreet files for each take/shot made the syncing a breeze.
I have been told by a Doug Oade of Oade Brothers that the FR2 mic pre’s leave something to be desired and since I was running sound on my tod I decided to buy a Sound Devices 302 to handle the mics and give me some leeway in levels (it has a brilliant limiter) I could easily have gone straight in but really wanted the 302 as an addition to the kit, plus it gave me some backup if the FR2 went awol, ie I could go straight to camera via the 302 and keep the levels sweet.
I did find out that Doug Oade’s company sell the FR2 with a mod on the mic pre’s making them better sonically. Try them out.
Best Wishes
Rob
UK -
I bought an FR2 last year to record production sound on a short film in Spain, I experienced only one problem throughout the 4 week shoot and that was more to do with the internal software having trouble with a very full 2gig CF card. Otherwise it performed flawlessly. I loved the file naming feature, I bought a cheap keyboard to speed that up. It is an easy machine to operate, fairly robust, but I would recommend an external battery setup if you are away from mains power for more that a couple of hours. The 8 AA internal batteries are not worth much in terms of longevity.
Rob
UK -
sorry, forgot to add that I am using FCP HD
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I bought a Fostex FR2 and used it on a long shoot in Spain. I used it in many conditions and encountered no problems, what I like is the ability to pre-name the files with the scene/shot number, this greatly speeded up the post syncing process. We were using a Canon XL2 with Mini35 adapter running on PAL format, I see no issues around PAL/NTSC. I bought my FR2 in the US. From what I have been told the mic preamps are not the best in class for S/N ratio, so I used a small field mixer to give me more control and line out. I also really liked the CF cards route, so easy to download in the evening on to my laptop. The FR2 can have a TC board installed at a later date if needed.
I have heard good things about the Edirol R4 also.
My main gripe about DAT is the need to manually separate the takes, very laborious. It is an old format and is probably past its sell-by-date, but that is just my own opinion and solely based on my personal workflow methods.