Steve Pankow
1
COW Coin
Forum Replies Created
-
Don’t get me wrong, I like the timecode generator. It certainly fills a need for those who have to do window dubs, but it generates timecode only. Timers for sports events usually run at 1/100th of a second, but TC only goes to 1/30th. Putting the TC generator’s Adjust Start Hours, Minutes, Seconds, etc. controls into the Numbers generator would be great.
For all the professional stuff Avid likes to be in, you’d think auto generated clocks, timecode and timer overlays would have been something they might have tackled years ago. But just one look at the Title Tool makes you think differently. My situation was special simply because the track event organizers didn’t have a timer inferface available to hook into their production live-truck, so we were looking for post-production options.
-
I understand what you’re saying, but this sounds like a fundamental flaw of the software. If I drop a Red filter onto an Avid timeline, I expect it to do what I want for that given duration — period. Adjusting keyframes for simple comps is a simple matter, but I must have at least 20 layers of stuff to deal with and I don’t have the time for a workaround like that. My solution has been to edit out the last frame of the rendered clip and live with the results.
-
It looks like the corner pin by itself is doing the job. I didn’t pursue it further after the first time I tried and the result looked terrible. The tracking dots used by the producer were too close to the board’s color and made for a difficult time, which the motion tracker seemed to handle better, because I was following the talent’s fingers on the edges. This time the dots are brighter and work better.
Do the dots need to be a perfect geometric match to the shape of the board, or does it matter?
-
I never did hear anything from anyone at Boris. Is Mukesh still working there?
-
Yeah, this is pretty much where I had it. I’m noticing that while the shatter will indeed start on the left hand side, it tends to “burst” at the middle and not cleanly continue to the right hand side. I have the Explosion Type set to Constant and other types don’t seem to be generating what I want. Maybe this isn’t doable? I’m also unclear on the role of the gradient media itself. Making alterations to it doesn’t appear to have an effect on the way things shatter.
-
Heck, why bother with Digibeta demo reels when you can soon do HD DVD authoring? And while I won’t speak to mastering, I think distribution of product (at least short form stuff) will be digital and tapeless. Sending out finished spots will be no more difficult than email.
-
I’ll second that – I really hate the lack of documentation on the built-in audio plugs for Avid. They’re just *making* people go out and buy third party stuff to get things done.
-
Well, you know your market better than I do but there are several US cable networks that cut shows using FCP for both SD/HD, so I don’t know why it would be any different for you.
-
I guess the question becomes why is there a decrease in FCP work? FCP with the right Kona or Blackmagic cards can do HD at a pricepoint much lower than Avid, and in my book producers respond more to price than name brands these days. Avid and FCP are just tools – it’s your people and skills that should make the difference.
-
Okay, the solution was to delete the .ini file and restart the computer. We’d tried deleting before, but I guess rebooting makes it “stick” or something.