[Ron Lindeboom]

Another thing you can do is try using Posterize Color on your main or even subsequent image layer. See how it affects your image.

You can get some very cool looking effects using it.

Best regards,

Ron Lindeboom

[Ron Lindeboom]

One of the favorite ways that I have used to do this, is to create a few layers of the exact same footage in the exact same positions on the timeline. Then, adjust opacity of the layers and add watercolor filters, etc., to one layer but one another and use blend modes to affect the image. Using this technique, you can soften the edges of your image without totally losing them to the watercolor effect, and you can also add just enough watercolor effect that you don’t end up with the canned look that you often see used when people use the plug-ins on a single layer image.

Sometimes, I will desaturate one layer, add a charcoal-like look to it, soften its opacity just enough to blend it into the image, add a bit of watercolor to the image layer above it (which is the same image, remember?), adjust the level of opacity on this layer and also try various blend modes to taste.

The bottom layer is my basic untouched version of the image and so the “stacked” and effected versions of the image atop it, affect the image and change its look.

Using things like this, you won’t end up with that “Hey, I used re:Vision FX’s Van Gogh or one of DigiEffects’ paint plug-ins” look.

Best regards,

Ron Lindeboom

[Ron Lindeboom]

Thanks for the vote of confidence, Richard. It means a lot coming from you.

Thanks, Richard.

Ron & Kathlyn

[Ron Lindeboom]

Hi Howie,

Yes, firewalls are the bane of web programmers everywhere. ;o)

When people visit the Cow, for example, we almost never hear from anyone regarding issues. When we do and we dig down into what’s happening, nine-times-out-of-ten, it’s a firewall.

Ron Lindeboom

[Ron Lindeboom]

From what you are describing, Alistair, you may wish to use something like a jittery effect (the flowing text effect tutorial brings machines (and people!) to their knees).

Look for the Wiggler plug-in in AE and play with that. Also, if your version has Roughen Edges (I believe that 6 does) and adjust it to where your text looks very rough hewn. Add it atop the Wiggler and between the two, you end up with a very frenetic look that would work with the style and subject matter of your video. It would be hard to read but that seems all the vogue nowadays anyway. ;o)

Have fun and welcome to the Cow.

Ron Lindeboom

[Ron Lindeboom]

NOTHING I know of is going to help you accelerate Magic Bullet the way that you want. It is going to bring the most powerful computer to its knees. It’s just the way it is. If you want a plug-in that does what it does and which realigns the math of an entire image while “reading” it and redefining the presentation of the entire image on the fly, then you are going to get a render hit — get used to it or shoot film in the first place.

Oh, and NASA is very expensive; go with the cost of Magic Bullet, it’s far cheaper.

;o)

Ron Lindeboom

[Ron Lindeboom]

On American television right now, you are not even limited to a lower “third.” Today, your lower third can reach out, intrude into and cover up half or more of the screen.

;o)

You can make it a contest between you, the designer, and your audience. See how much of the show you can hide from your audience. If you know the show that your lower “third” will be used for and can get your timing right, you can even hide entire key moments wherein the on-screen talent or setting could have been seen during important times of story and character development (and other unimportant things like that). But thanks to the Lower Third Set Free To Build Its Self-Esteem

[Ron Lindeboom]

Hi Nik,

It’s great to see you visiting the Cow site today. It’s been a while since I’ve seen you here in the Cow.

I hope all is going well with you and your family there in Bulgaria.

Best always,

Ron Lindeboom

[Ron Lindeboom]

Or hire Markus Rothkranz (the guy on the cover story of the last issue of Creative Cow Magazine). He’ll replace the team of animators and get it done in a few days without all the meetings.

:o)

But without Markus, yeah, hire a bunch of people. ;o)

Ron Lindeboom

[Ron Lindeboom]

The bottomline is that in lieu of a contract to the contrary, YOU own the masters. This is because in intellectual property law, the ownership is with the producer unless specifically stated by contract, etc.

Most court cases would be settled in that way and courts tend to side with the “little guy” in these kinds of cases. Sure, there are exceptions but this is the general rule.

But…

You can be “dead right” in the same way that a person can have the vehicular right-of-way and demand to take it when the resulting collision will cost them their lives.

Nick, Mark and others have offered some wonderful advice as to ways that you can take the high-road in this and I would offer only one additional point: When you understand that you hold the rights and make it clear to the people that you respectfully know your rights in this regard — without being a jerk about it but doing it in an understated way, yet still from a position wherein knowledge is power — you can make it clear to the higher-ups that you are a team player. That is what they put value on and a sudden shift in direction that produces little tangible results may find the new hotshot gone from the field and the higher-ups wanting you back on their team. I have seen it happen and even here in San Luis Obispo County which is only about a half million people all totaled, I have see it happen more than a couple times.

One of the hardest assets that company owner/manager/builders face is getting the right people for their team. When they find people like that, they are priceless. Make sure that the real players know that you are once again being a real team player just as you have always been.

In most business deals that I have seen, there is usually a “buyer” and a “decision maker” and they are not necessarily the same person. For example, if you were selling flooring for a beautiful home, the husband may be the guy who will be standing there negotiating with you and may even write you the check but I will guarantee that his wife is going to make the decision about whom she wants to have in her home. While, today your new protagonist may be the buyer, the real decision making power usually rests somewhere else and it is to those people or person, that you must be seen as the level-headed team player that you have always been.

And as it was said here, stay in touch — even with your protagonist. You know the field and in a pinch, you are the likely candidate to help pick up any pieces should something break. But out of sight is out of mind and if you are not there in mind and spirit, they will just assume you are too busy, not interested, and will look elsewhere (maybe even doing so wishing that they could have had you back).

Best regards,

Ron Lindeboom