Shawn Miller
1
COW Coin
Forum Replies Created
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[Michael Gissing] “Mine does. You have to format the CFAST card to ExFat.”
I always use eXFAT, but DNx is grayed out for me. What firmware version are you running and which Ursa Mini? I’m on the original UM4.6k.
Shawn
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[Michael Gissing] “The BM Ursa mini is able to do cDNG RAW at different levels of compression or uncompressed and ProRes/ DNx varieties onboard so it might be the first camera to offer that way of comparison that removes the camera variables if and when they offer ProResRAW onboard.”
The Ursa Mini doesn’t do DNx. BMD took it off the spec sheet earlier this year. ☹
Shawn
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[Mark Suszko] “Darnedest thing is happening to me; uploaded my video to an unlisted YouTube account to let the YT auto-transcribing generate captions for me. Then I grab the .srt, .vtt or other caption file from that to import into my edits. Done this a hundred times, always works like a charm (well, if the audio’s clear, it’s 90 percent right, you just need to do a little clean-up on it, but beats manual transcribing and it’s free).
Today, all it wants to give me is auto-captions in Portuguese.
I’ve deleted and re-uploaded to two different accounts, three times, carefully setting the “Original Language” pre-set to “English”. I don’t know why the A.I is insisting on giving me Portuguese, and not the English that I’m asking for.
We thought maybe the audio wasn’t clear enough to be understood, ( doubtful, I got back transcriptions from much worse files) so I uploaded a version where I EQ’d the audio to make it extremely clear. Still comes back Portuguese. Every time.
O que há de errado e como faço para corrigir isso?”
Did you check your location settings? I’ve had Google Translate select my default language incorrectly before, changing my location seemed to fix it.
Shawn
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I think anything under $5k US for real time ray tracing is a no brainer for a large number of 3D/VR content creators and artists. These things are going to fly off the shelves at $2,300 and $5,000. It looks like the developers of the most popular 3rd party renderers and Epic (Unreal) have already signed off. I imagine a lot of the online render services will also be quick to jump on board. This is huge.
Shawn
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I think people who say things like this (you should have gone into tech, or whatever) fail to realize that a large part of the technology landscape is driven by art and design. Design driven user experience and design thinking aren’t seen as trends in technology, they’re seen as vital tools that help drive innovation. In fact, I can’t think of any large technology companies that haven’t bought at least one design firm in the past five years. The most recent example that comes to mind is Accenture’s acquisition of Mackevision.
Shawn
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I would prefer the Ursa Mini for this kind of work – mostly because of higher dynamic range, better battery options, more recording formats and XLR inputs (it has two preamps BTW).
Shawn
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[David Mathis] ” Not sure whether to call it a child parent relationship as in After Effects but very interesting.”
This is different from parenting… a node stack is a chain of nodes. Sometimes, people just call it “the stack”. ☺
Shawn
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[Bret Williams] “AE already has clones for the most part. They’re just precomps. There are some slight differences, but what do you use clones for mostly? To make duplicates of a group that are always the same as the group. Well, that’s what compositions ARE in AE. You want to clone a comp in AE, you just duplicate the comp. All duplicates link back to the same comp. Clones are a necessity in Motion because of Motion’s short falling that it doesn’t have multiple compositions.”
I can’t speak for Simon, but when I think about cloning, it has more to do with having control over an array of objects using a set of controls in a plugin or tool – like Trapcode’s PlaneSpace.
https://www.redgiant.com/products/planespace/
I would like something even more powerful in AE, like Cinema 4D’s cloner object.
Shawn
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[Simon Ubsdell] “Most After Effects users are so accustomed to Precomps that they probably assume this is the only away of approaching grouping. Motion by contrast uses Groups in place of the Precomp concept and it’s a much more open way of working. A Precomp is essentially a closed container and we have to work around that in various ways, whereas a Motion Group is an open container and that offers considerable benefits. In other words, in Motion you can access (not simply view) the overall architecture of the composition without having to dive into closed containers.”
I definitely agree here – I think Motion works more like Photoshop in this way. Pre-comping is a terrible way to organize compositions. That’s what I like most about working with nodes… finding and reusing assets is SO much easier than digging through layers.
[Simon Ubsdell] “But there’s an even bigger and more powerful difference and that lies in Motion’s use of Clones. These are very little understood even by many Motion users so here’s a basic primer:”
This is another big pet peeve of mine about AE. A powerful cloning tool should be a no-brainer – but for some reason, Adobe has left it for third party plugin developers. In truth, I thought the Trapcode plugin was really good, until I started using the cloner tool in Cinema 4D. Now, the exclusion of that capability just seems like a monumental oversight on Adobe’s part (to me).
Shawn
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[Simon Ubsdell] “Yes, it would be completely wrong to say that Nuke/Fusion/AfterEffects/Motion have tracks rather than layers – although of course I just did exactly that ☹”
No worries, I had a feeling that you meant to say layers. ☺
[Simon Ubsdell] “[Shawn Miller] “I see tracks as immovable time-based object containers, and layers as containers for time independent objects.”
That’s a nice description of tracks, but I’m not sure I quite understand what you mean by a “time independent object”.
In Nuke/Fusion each node (tool) is a layer. The consequence of this is that not only can you change the timing of a clip (in and out points and position in time), you can also move the overall timing of any operation up and down the Timeline as well as its individual keyframes, without having to invoke a Graph Editor”
My thinking (broadly) is that objects inside of a layer container don’t’ have the kind of intrinsic temporal relationships that objects inside of a track or a timeline do… i.e., in a layer container, you can’t use object A to (temporally) split object B and move everything before the split left (backward) in time and everything after the split right (forward) in time. ☺ (sidenote: thinking about it, you can’t really even split layers, you can only duplicate and trim them) Objects inside of a layer have their own independent temporal properties (duration, or sometimes frame rate) but they can’t interact on a temporal level with other objects in that layer.
I hope that makes sense. ☺
[Simon Ubsdell] “But I’ve probably not grasped your definition properly.”
It’s okay, I think I’ve done a terrible job of explaining what I mean! ☺
Shawn