Todd Gillespie
Forum Replies Created
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Hi John,
you might take a look at this tutorial. the ‘write-on’ part should work well for what you want. after you get the write on part lock down, then you can add color (flames) and particles to really sell it.
Cheers,
Todd at UCSB
Television Production -
FYI,
Shane was spot on for the info.
The receipts folder is where the installer programs look to see what you have.
I’ve had a couple of occasions where I had a bad install, but it wouldn’t install again. So I needed to delete the receipts first.Good Info to know.
Todd at UCSB
Television Production -
Hi Daniel,
There are a couple ways that I do this, hopefully someone will be able to add some more.
Usually if I’m missing a clip or need to change with a differnt clip later, then i will use the ‘matte’ & make the color hot pink or red, something that will stick out on a sequence-so when you’re viewing the sequence with the tumbnail on the clip, you’ll see the color. If I really need to write a note for the timeline, then i would use the ‘marker’ add write in the comment space. Then when you run across it in the sequence, you’ll see the note in your canvas when you have the ‘view overlays’ checked. Do keep in mind that if you edit your program down in time, it won’t shift the markers, so you’re notes may slide in timing, so beware.Good Luck,
Todd at UCSB
Television Production -
Hi Dave,
Glad to hear everything went well.Cheers,
Todd at UCSB
Television Production -
Hi Dave,
Apple make’s the transition very easy for you when you upgrade.
Your FCP project files will update to FCP v5-so you might want to burn a copy of your project files before you upgrade and/or save the projects as a different file (leaving the original intact).
If your media is on a Firewire Drive the drive will work fine, IF you are using a SCSI drive, then you might need to load new drivers with Tiger.The only thing that get’s me when I upgrade is my plug-ins. I use Boris Red for most of my titles, so I need to reinstall Red before I use FCP.
Depending on the OS upgrade, if you use Archive and Install, you will have a copy of your plug-ins in the ‘old system’ folder. Most of the plug-in you can drag and drop into your new FCP plug-in folder. Just depends on the plug-in (if you even need to)Good Luck,
Todd at UCSB
Television Production -
Hi Eric,
It would be a HUGE shock if it didn’t work between both computers. Even after Apple completely moves over to Intel machines, they will need to continue to support their existing customer base that own pre-Intel machines.
You might be waiting a while, I’m not sure the new Intel workstations will be out before NAB.Cheers,
Todd at UCSB
Television Production -
Hi There,
This is one of the reasons that Google Maps is so popular and useful. There are not too many other ways to recreate a realistic effect without it taking up a LOT of time. As you realized, it would take a HUGH graphic to be far out and very close up. I like your idea of the vector graphics.
Off the top of my head a quick a good work around would be to create 2 graphics one ‘zoomed out’ graphic and one ‘close up’ Then when you zoom in, match your positions between large and small and add an effect transition-light burst, radial blur, etc. History Channel and Discovery Channel do this all the time.
Good Luck,
Todd at UCSB
Television Production -
Hi Danny,
Sorry but it’s even more confusing than that!
A lot of broadcast work it 720×486 D1 resolution.
If you can’t find what resolution your client needs, then I would render out at 720×486, because it’s all the resolution they would need, then if they use a different setting they can crop out. Otherwise if you send them 640×480 and they need 720, then they are lossing resolution/quality because it’s too small.FYI there’s no res at 648. It should be either 720×486 – 720×480 – or 640×480. It shouldn’t be the middle 720×480-it’s not a broadcast standard -sort of.
Although, if it’s a small file and/or a quick render. I would burn all 3 resolutions onto a disc.
Cheers,
Todd at UCSB
Television Production -
If you haven’t purchase them yet, I would recommend getting the larger frames. 24″x36″
I have both Matthews Road Rages and love them. I don’t need to have any ridged frames anymore-but I don’t do large size shoots either.
I’ve had some trouble using the smaller frame on location. I usually need a little bigger foot print for my diffusion area.Good Luck,
Todd at UCSB
Television Production -
Eyecamiam,
Dennis (of course) is correct on the color.
DON’T get white – nice bounce, but you can’t control it and it would be difficult to get nice single ‘model’ lighting with all the bounce.
No black either.
Like Dennis said-Grey or Tan.
Both of our Studios are a tan’ish -gray color.
Also, you do not want a glossy finish to the floor, it will bounce just as bad as a white color would. It will add all kinds of wierd reflections. We always have to have a special meeting before we get our floors cleaned. One time the cleaners had to come back out and ‘scuff-up’ the floor because they buffed it too much!As a side note, I’m not sure it’s going to be worth the effort to ‘buy’ a floor. It sounds like a lot of money and since the floor is not going to be prepped perfectly, then you’re going to have an uneven floor anyway. But the uneven floors only really become a problem with you try to truck/dolly while your camera is ‘live’ Probably something that wouldn’t happen a lot anyway. You might want to look into painting the floors with some of that heavy acoustic paint. I believe it’s what’s painted on our floors. With the correct combination of prepping, amount of coats, and your finish-you’d probably end up with something close to what you want. And it would be a lot cheaper and easier-plus you could maintain it for next to nothing.
FWIW.
Todd at UCSB
Television Production