Tim Kurkoski
Forum Replies Created
-
This is just off the top of my head, but what about starting with a Mesh Warp or Corner Pin, and then applying Radial Blur?
-
Yes. What you are seeing is due to interlacing. There are several things you can do to help minimize the effect:
* Avoid using fine detail in your image. Thin horizontal lines, such as window blinds, is a common cause. Anything that requires detail smaller than about 2 pixels will definitely cause it.
* Avoid high-contrast images.
* Avoid very bright or very dark colors. RGB values should stay within a range of about 16-235.
* Don’t use fonts with fine serifs, such as scripted fonts. Make sure your fonts are big enough so no line is thinner than about 2-3 pixels.
* Use small amounts of blurring or glows to smooth out areas where the detail is fine and causes the problem.
-
What kind of display? Newer airports simply use computer graphics on LCD panels hanging in the terminals, not hard to replicate. Or were you thinking about an LED display? There are fonts out there you can get to do that.
I suspect you’re talking about the old-style flip lettering boards, though. Off the top of my head, I’d say you’re in for using a lot of layers, and animating them in 3D to flip. One trick that may help is to set the letters for a particular space on the board in a pre-comp and to use time remapping to control which one appears. See this tutorial to get an idea of how time remapping can be used in this fashion:
https://www.creativecow.net/articles/rabinowitz_aharon/lip_synch/index.htmlYou’ll probably want to actually animate the flipping cards in the pre-comp, though, and enable motion blur for the layers.
-
The Save for Web function in Photoshop does not attach a color profile to the file (normal Save As functions do it by default, though this adds to the file size a little). This means that when you re-open it, Photoshop doesn’t have a “guide” to use to define how the colors should be displayed. The end result can be a slightly different color appearance, depending on what color settings you’re using.
Color Management is a wild and wooly topic. A good guide is Real World Color Management by Bruce Fraser and a couple of his buddies. The how, why, and where of CM seem a little intimidating at the beginning, but once you get past the basic concepts it’s all cake.
-
Photoshop CS2 has a limit of 150,000 x 150,000 pixels. If you enable large document (.PSB) support, you can go up to 300,000 x 300,000.
Some file formats may have smaller limitations, though.
Older versions of Photoshop also have smaller limitations.
-
This is true, but cost vs. speed still applies for PC’s, and AE is still a processor and RAM hog. If you’re getting a new, faster Mac anyway, AE will run well on it as well.
But if you want to have a separate machine just to run AE (say, to render while you’re editing on the Mac), there are some recommendations for squeezing as much power as you can into the machine.
– As fast of a processor as you can afford. I’m favoring the AMD 64-bit chips these days.
– 2 GB of RAM. 1 GB can get you by, but the more the merrier.
– A good video card. I’m favoring Nvidia chipsets these days. Spend as much money as you can on it. -
Well, seeing as how this is a Premiere forum and Premiere 5.1 is an ancient version, I’d like to recommend you upgrade to a current version of Premiere.
Premiere Pro 1.5 is the current version of the “main line” program. It is, of course, a bit on the expensive side compared to Pinnacle Studio.
Premiere Elements is the “consumer” version of Premiere. Like Photoshop and Photoshop Elements, PrEl retains the same basic interface as PrPro, but with the more advanced features stripped out.
I think the retail price of PrEl 2.0 runs around $100, but you can probably get it for less than that. You can also get it in a bundle with Photoshop Elements 4.0 at a good price. I’ve seen some good sales on the bundle right now during the holidays, so check around for prices.
As far as your MovieBox goes, either version of Premiere will be able to work with it if it outputs video as standard DV. However, I know that many of Pinnacle’s devices don’t, and I don’t know enough about your device to say. If it doesn’t, you can get a converter box from Canopus or ADS Tech. The ADS Tech Pyro is cheaper, has a good reputation, and you can get it bundled with PrEl 2.0 for less than $150, I think.
Of course, I’m assuming that you need a DV converter because you’re converting from an analog source. If that’s not the case,and you’re using a DV camera, all you need is a firewire card.
-
Well, what settings did you use for the two renders? You can go back to the render queue and drop down the details.
-
Agreed. If you were using a version of Premiere prior to 6.0, I’d be suprised if you weren’t using a card, meaning you were hardware dependent.
Can you play the AVI file in Windows Media Player, or does it give you an error?
-
Well, it looks like we’re operating in a vacuum of information here. We need to nail down a few basics before continuing:
* Is this Windows or Mac?
* What version of Premiere are you running now?
* What version of Premiere were you running when the problem began?
* What changed since the project worked and now?There’s no particular reason that any version of Premiere shouldn’t recognize a file that it was able to read before, unless something about the file has changed, or something else on the computer is preventing the file from being read. (Such as a codec being uninstalled.) We’re just going to be spinning around in circles until we know the complete story.