Thomas Leong
Forum Replies Created
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Agreed…or AVStumpfl’s Wings Platinum Module version but with a higher learning curve than Watchout.
In any case, doing the Foot Lambert maths regarding the brightness of the projected image, it makes more sense to split the whole image into manageable sections (Master PC -> multiple Slave Display PCs -> multiple Projectors) would give a far higher on-screen brightness than doing it with one projector. Stacked multiple projectors is another possiblity but these have an inherent problem in alignment especially for graphics which require a far more accurate alignment between the stack compared to moving video footage.
Intended Projected Image area = 65ft x 18ft = 1170 sq. ft.
If Projector’s ANSI lumens = 10,000, then this only gives a
10K/1170 = 8.55ft Lambert result. This is going back to the old slide projector show days (without the xenon arc lamps). The acceptable image these days is a minimum 16ft Lamberts (20ftx16ft image with a 5K Projector), preferably double that with a 10K projector. There are higher rated projectors on the market, but the rental costs would be much higher too.To achieve a 65x18ft final projected image, using Watchout and native 1024×768 10K projectors, my calculations say that one would need 3 projectors overlapping at 15% (150 pixels). This would be the bare minimum overlap required and would demand a tweaking of the soft-edge blend within Watchout to get an even image where the blended areas are not so obvious.
My advice is to liase with the projection people for this project, and work eveything thing out before production, else you may be wasting your time and find you have to alter your production specs at a later stage, i.e. re-work.
Thomas Leong
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The DV specs do not support alpha. To get alpha, you must render to “Uncompressed with alpha” or RGBA, selected in the Output Module. or just select ‘Lossless with Alpha’ in the drop down presets.
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1. I wouldn’t worry about mixing pixel ratios between the various productions. Just produce all to one pixel ratio, whether it be 1:1 or otherwise. Watchout can re-scale XY perspective proportionately or non-proportionately.
Do not worry about the supposedly odd sized screen specs. For the widescreen stuff, the Show Designer using Watchout will have planned to split the playback between Slave Playback PCs under control of a Master Production PC via TCP/IP network – a specialty feature of Watchout.
I think you should ask them what maximum vertical resolution they want the production to be. Although Watchout will/can re-scale, the vertical resolution determines the projected quality. Example, if they are using projectors with native resolution of 1024×768, you would want to produce in 768 vertical in order to maximize the projected quality, rather than produce in a lower vertical res and let Watchout scale it up to fit…although the Watchout people are pretty proud of their scaling quality (up to 200% of the original, I believe)2. There is no requirement to transcode on your part if they have not specifically asked for a file-type. Just provide QT Animation to them. Watchout will happily play that back without problems, provided of course the Playback PCs have the muscle power, which these days, would. However, clarify with them whether they need the alpha channel or not.
I think for a job of this size, you should dump all final output to an external harddisk as this would facilitate transfer of the huge QT Anim files to the Watchout Production PC.Thomas Leong
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No, I did not mean the cable, though these have been known to be faulty, and so has the female end of the connection itself. The bigger end of the cable carries power (6-pin), and the smaller end (4-pin) carries no power. That’s the only difference apart from the fitting 🙂
I meant the Firewire device itself, especially the one in your PC. As Steve has just suggested, check with a DV camera attached to the pc. AFAIK, all DV cameras are OHCI-compliant. So if AE sees that and outputs to the camera, then you know the Firewire device in your pc is OHCI-compliant, and the problem then lies in the cable, or Sony.
Unfortunately, troubleshooting is a step by step process of trial and error, and elimination of components in the chain. Tedious but necessary.
Thomas Leong
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Hope you know that there are different flavours of Firewire/IEEE1394/ilink whatever you call it. The most compatible, and what AE is looking for is an “OHCI-compatible” IEEE1394. It is likely that other flavours would give you that error message. Example, my Canopus DVStorm card’s Firewire is not OHCI-compatible, so it needs a Canopus-provided driver to get AE preview-to-TV-monitor out of it. Your AVID may be similar.
Thomas Leong
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740×740…dunno…but I think I have to disagree with this.
First off, projector resolutions are not square. SVGA is 800×600, XGA is 1024×768. These would be the two most common business presentation projectors in the market. Both are a 4:3 ratio. And it is an undisputable fact that the best picture quality to project is to use the projector’s native resolution, i.e. rather than let the projector’s electronics do the scaling, feed it its native resolution – either SVGA or XGA as the case may be, unless you are using higher end projectors with a higher native resolution.
With that in mind, I’d recommend creating in 800×600 or 1024×768. If in doubt as to what projector will be used, XGA is the more common res. when a projector is rented from a rental house. SVGA is the more common when the client owns it for his own use (due to purchase price differences!). Then for web output, pre-comp and Shift-scale, with cropping of the sides, to the resolution you require. Or scale and crop in the Output Module but I would find it easier when done in a comp.
Both methods would require that you create in Photoshop your own 1:1 Safe Title/Action Grid Overlay so that things are not off the screen when outputting for the web.
Thomas Leong
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1. Cut
2. Dissolve (any duration)
3. Fade to black, fade in from blackBut all 3 are still the most pleasing and appropriate in most circumstances.
Thomas Leong
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Here’s my two cents –
It is basically a slide show, but think audio AND visual, not just visual. With the visuals, being stills, you can only do so much. Some examples:
– a sequence of stills can be broken up into 4 – 6 non-equal portions with 10-20 pixels of overlap in Photoshop, then manouever the pieces to form the whole in AE using 3D moves, substituting/dissolving the original whole into place at the last moment.
– pan and scan and rotate others
– variations of Card Wipe and other transitions, soft-edged or hard-edged.
– etc., etc., etc.If the script/storyline can be segmented into groups, then you would use one type of effect/transition per segmented group to give it an organised look. The amateur would use all effects one after another without regard. The pro would organise and plan use of effects/transitions where necessary.
Remember a cut is also an effect. So is a dissolve. I know in film noir, a cut is to signify the same instance in time, and a dissolve a displacement/transition in time. But with stills, almost all stills are generally non-related in time (unless it is a sequence of animated stills), so dissolves and cuts are generally used almost exclusively to vary the pace of the show by reflecting the pace of the music and stir the emotions of the audience.
Long slow dissolves of 4 – 8 seconds duration are not uncommon. The outgoing still pix lingers and its luminance mixes with the incoming still, sometimes creating a beautiful holding transition that stirs the emotions. A bit tough with digital dissolves, but with voltage variations of slide projector lamps, this was something we lost going digital. I think some software use what is called an “additive dissolve” to simulate the same reaction of the two lamps. You could try the same playing with the Opacity ramp in AE…if you have the time and patience!
In some cases, don’t be afraid to hold the still for more than a second or two so that the audience can appreciate the beauty of that “captured moment in time”. When you view the sequence, you will instinctively know whether it is time to change picture or hold for a fraction longer. In this respect, the pace and beat of the music is important. So think AUDIO as well. It is half of the word “audiovisual”.
Generally, with audio, you are basically saying to the audience: “There is no voiceover here to tell the story, so the music is part of the story. Sit back and pay attention to this visualisation of the music.”
As for motion graphics, I’d advise that you put the storyboard/storyline sequences together first with all the stills, and sync that with the pacing of the music. Then as you review the sequences, you would be able to ‘see’ where sequences/introduction to sequences/end of sequences/transition between sequences can be improved with a motion graphic or two – lines, grids, starglows, text titles. etc.
Thomas Leong
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AFAIK, use the built-in Shatter and play with Gravity, Force, Direction, Gradient, etc.
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For you, yes I presume so.
For me, I did it via Canopus’ own Forums (non-Cow) where we can send private messages to each other.
If you can’t get through, let me know : tlsc at pc.jaring.my and I’ll forward the request with your email address to him.Thomas