Robin S. kurz
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I’d use a directional light for that.
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Why multiple? Simply one (point light) with the intensity, falloff and color keyframed as needed. Depending on the scene, maybe an additional ambient.
– RK
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[Fred Schenkelberg] “So, what is a way to create the illumination of the stage as if the rising sun is doing the illumination?”
Use an actual light?
– RK
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[geri bastian] “I have not tried the displacement map.”
Well, you’d have to MAKE it first. 😉
– RK
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[geri bastian] “to also follow the indents in the middle of the door as well”
Well, you’re not going to find anything IN or FOR Motion for that. Unless a displacement map is enough, which generally isn’t quite as elegant as say, a mesh-warp of sorts, which is what I’m assuming you’re thinking of.
– RK
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You could simply use Motion’s corner-pin tracker, but I would personally opt for Coremelt’s TrackX and do it in FCP X where I’m assuming you’re doing the rest anyway, no? TrackX is not only much easier to handle, but the results will be much better more often than not.
– RK
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[Dennis Radeke] “and Apple with the hardware dongle”
Well, Dennis, tell me: exactly which software doesn’t have one of your “hardware dongles”, meaning nothing other than needing a computer? Or are you saying PPro runs on Linux now? No? Then, by that logic, it has one, too. It’s just a stitch more flexible?
And we’ll just conveniently forget that Premiere itself existed exclusively on the Mac for a very long time (along with every other Adobe product), then didn’t exist on the Mac AT ALL for another extended period of time.
So… is someone duplicitously calling the kettle black? Well, if you ask me…
[Dennis Radeke] “is a customer requested feature “
Right. Because, as your explicit double emphasis is clearly meant to suggest, there have never been any new features or functions added to X just because users asked for them, only to PPro? Nor have Apple ever worked directly with users to improve X by request, only Adobe? The built-in menu point in almost every Apple app leading directly to a feedback page is of course also just ruse, too. They, unlike Adobe and everyone else, are the evil overlord dictators working in a vacuum? :-)))
[Dennis Radeke] “Again, eye of the beholder…”
Okay. In which case, again, do explain which of the “200 items” you were able to “casually add up”, did your “not includ[ing] all of the small features”-eye behold “just counting from CC”, if not those I listed? Of course 187 minus anything makes for even less than 200 either way.
[Dennis Radeke] “There’s an unsaid point here though.”
Oh? That being?
[Dennis Radeke] “[Robin S. Kurz] “Since, as we all know, X has absolutely nothing unique to show for in terms of features in comparison.”
You will never see or hear me say anything to that effect.”
Oh, okay. Then I guess I completely misinterpreted what…
“the ‘features’ (in quotes of course… how could I have misunderstood what that suggests?? Weird.) that some folks talk about […] were things being added back that were in the previous iteration”
… was meant to imply. Not the “nothin’ special to see here, just the same ol’ same ol’ as 7” that I thought. My bad. Clearly.Oh, and I’m just curious by the way: how much actual editing do you do or have you done, Dennis? And how much of that was or is ever done with X? Just so I know what we’re talking about here and don’t accidentally make any further false accusations or silly assumptions.
– RK
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[jan maslow] “But I’m afraid I couldn’t find the “Apple Devices 1080p” preset. “
Ah, sorry. I meant EXPORT preset, that I thought Motion also had, but it “only” has “H.264”. But I would suspect that it would give the same results.
You could otherwise simply publish the project as a generator to FCP X and export it from there. OR use the somewhat more convoluted Vimeo “detour” I described. Like I said, that would ironically give you the best quality:size ratio. Or even just upload the ProRes master to Vimeo and use the embedded version. That’s how I do it. No need for any additional provider/server/host. One that I presume only costs money anyway, no? But then they could just download the Vimeo encoded version as well.
– RK
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From personal experience I’d say simply exporting with the “Apple Devices 1080p” preset should give you the best size:quality ratio without any fiddling needed. Be it directly, or through Compressor or even FCP.
I’ve also even uploaded clips to Vimeo at full ProRes quality and then downloaded THEIR encode afterwards, since they use some kind of (probably hardware) voodoo to get the files frighteningly small (in some cases down to 1/6th of what FCP would give me with the Apple Devices preset) with hardly any detectable degradation in quality. 🙂
– RK
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[Steve Connor] “it’s the pace of development that is under discussion at the moment.”
What about it? X’s updates have come at an average of three, at the very most four months apart. Some of the most recent PPro updates have been up to SIX months apart (not that I actually care either way or even think that THAT is some sort of yardstick of overall quality etc. either, just another justification fallacy). So… I’m not sure in who’s favor you think you are arguing. All I can say is, that if my bank account were being hit on a monthly basis, that’s just about the cycle I would expect between updates, too. So I guess it’s all relative.
[Steve Connor] “FCPX has a fantastic amount of third party plugins available that could be viewed as a type of “feature enhancements” and even if you pay for these, the cost is still less than PPro?”
You tell me. What is it you need above and beyond what X offers by default? Then you know the answer. But you sure would have to buy A LOT of additional stuff to get to the aforementioned price tag, yes. And you obviously have to differentiate between actual, continuous NEED (e.g. X2Pro) and simple effects and/or templates. In which case you can mark up about an additional $200 on my end. And those altogether 500 bucks wouldn’t even get you a year of CC, for what it’s worth, as they say.
– RK
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