Ryan
Forum Replies Created
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Create a layer of text, apply CC sphere. Set the Render to inside. Duplicate that text layer and set Render in that CC Sphere to outside. Put the “Outside” sphere at the top position. Put the layer you want everything to orbit around at the second layer. Put the “inside” sphere layer at the bottom.
To make life simple use the pick whip to create an expression so that all of the rotation values of one CC sphere follow the other.
Voila.
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Actually that would be an ethnic slur, not racism.
Surprising how many people make that mistake.
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Arrrr…. Sea Turtles!!!
Sorry, couldn’t resist.
Thanks.
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Seems to me that the camara uses the same process to record 24p as the DVX series of cameras. In which case at some point if you want to work with the footage and only the 24 frames, some form of pulldown removal will be required.
Ryan
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“I think the main difference is that FCP is cheaper, thus can be used by more people, thus can be set up by people without as much experience or technique as Avid, thus is subject to greater instance of user error.
As with all things, if you know what you’re doing, you have won 90% of the battle.”
I am going to put that on a T-shirt.
I give kudos to you on that observation, and on putting it so poetically into words.
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Chris’ answer is very concise, but I have seen tapes come in that have bars and tone and that is it.
It is nice if your levels match your bars and tone, but hey, that rarely happens, even with very high-end stuff. (I know this from experience)
The most important question to be asked is what type of media they want stuff to be delivered on. Everything else most places will work around.
But, if you want your stuff to look the way you originally intended then match the bars and tone, that is what they are there for.
Ryan
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When timecode recording is set to “Preset” then it assembles, in “Regen” it inserts.
I didn’t say it was the best option, I said it was the only way to gaurantee no timecode issues.
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If your DVD player or receiver or outboard decoder have six preouts, you can record each channel seperately.
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Use multiple layers of fractal noise set to look like clouds. Layer them in 3d space and set the blending mode to taste, or you could use unmult to remove the dark areas. Animate the camera to fly threw them, or animate them to fly towards the camera.
You could also use a gradient wipe with a duplicate of the fractal (you will have to have it in its own composition for it to be used as a gradient) as the source gradient, and make the transition deteriorate the clouds away.
Hope this helps.
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Funny, I posted that advice about the tony scott hand crank thing. Thanks for the compliment.
Both responses are bang on advice for people doing production. There is not enough pre-production going on. Some people seem to want to just pick up a camera shoot some stuff, run it through a PC (or MAC), and have it come out looking like gold on the other end. There is a reason there are “MONTHS” set aside for pre-production, to come up with the decision on what format to use to shoot.
The thing with a few posts around here is exactly the issues that you guys point out. “I shot a movie with my webcam, can I make it look like Lord of the Rings?”
I also don’t want to make anyone feel insecure about posting, or make myself out to be a tyrant. But I might have come off like I was trying to start a HD vs Film discussion, and that was not my intention. My post was more for the benefit of folks asking how to make stuff look like film. And like you have stated before Chris, there are so many factors involved in that answer that it is like asking how do I make a picture look like a painting, when the question should be “how do I make my picture look like a van gogh, or a caravagio?”
I guess what I am trying to say is that people should be more concerned with making the product look like a certain style rather then a certain medium (format) once the product has already been shot.
Thanks for the responses guys, you are a definite benefit to this community.