[Todd Gillespie]

We need a little more specific info to answer your question correctly.
BUt you can do it either way, it just depends on your workflow.
If you have a program that will export the timeline of you program, like Automatic Duck, then that might be easier, but will take longer to export out of AE.
Or you can just export the movies that you want to transition, do the transsitions in AE, then cut those back into your sequence.
Like I said, it depends on your workflow.

Todd at UCSB
Television Production

[Todd Gillespie]

Hi Ike,
There are probably a dozen ways to do this, but this is how i’d start.
obvisouly make your ‘ball’
then set keyframes at the start of each of the syllable-where you want the ball to be. That will make the ball slide from one syllable to the next, in a straight line. Then highlight the ball layer, get your pen tool, then change your keyframes into bezier points. Arch your path from A-B, B-C, etc. Then you can make the ball ‘bounce’ from one point to the next.
You’ll might need to play with the speed of the keyframes, but that’s a quick way.
If it’s a long animation, it will become a little laborious.
Good Luck,

Todd at UCSB
Television Production

[Todd Gillespie]

Ah,
As you are probably aware, the Kino’s have a great ‘wrap’ around people/objects.
You really don’t mold the light as much as you would a fresnel. Because of the way the Kinos light an object/person, to really control it, you’d need to have some flags.
That’s not to say that you can’t control the light, but the Kino’s aren’t design to get very precise.

Obviously, the Foto’s-because of their size-can give a little more lighting options. Narrow and long, or short and wide.
The Diva’s come across more as a square (4 unit) so it doesn

[Todd Gillespie]

hi rob,
I echo Enzo’s post. 9″ would be a little small for editing and 13-14″ would be a little big for field production. LOL
Don’t ya love it!
But seriously, it’s true. If you don’t mind carrying a 13-14″ out in the field, more power to you.
I’ve found Sony’s NTSC monitors to be the best for new pricing. I have a 13″ Sony L2(i think) that I got for under a $1000. Used, it’s anyones bet.

It’s looks like your trying to keep the price down, but I would seriously consider getting the fastest Mac you can buy!! Apple writes each new FCP version and updates to take advantage of the speed of the processors to perform more in realtime, on top of other speed inprovements. I’d get a used NTSC monitor (instead of new) and put more for the G5! The same goes for RAM memory, with running LiveType , Motion, soundtrack, etc. 2 gigs are the minuim.

If you’re only getting one internal, then you don’t need a card. There’s a company that sells a kit that shoves 4(?) internal drive into the G5!!
If you need more drive space I prefer G-Tech’s external drives anyway.

[rob katz] “if dvi is not necessary for my modest needs, any recommendation as to decent crt ntsc monitors? are the studio lcd monitors color accurate? more affordable?”
No, good LCDs are going to cost you more. Don’t stress CRT’s, since you’re not going to spend a lot of money for the monitors, then the monitors will all perform about the same.

Good Luck,

Todd at UCSB
Television Production

[Todd Gillespie]

Hi Rob,
[rob katz] “dual 2? 2.3? 2.5?”
As you know with computers, the faster the better-since it will be out dated in 6 months. There’s a 2.7 that’s a quad processor. That’s the one that only has PCI express slots. AJA and Blackmagic both make a PCI card for FCP, so as far as PCI-it doesn’t matter, it’s only the processor speed that is a factor.

[rob katz] “how large an internal 250gig sata? 500gig sata? (do these drives need to be partitioned?”
DO NOT PARTITION! DO not pass go, do not collect $200. THat’s old school. If you get a couple internal drives, then you’d get a SATA card that would create a single ‘hardware’ partiion.
How much? How much to you edit? how long to you keep project on your drives? Etc. It all depend, 500gigs could be OK, or you could be out of space in a week. I difinatly wouldn’t get less than 500gigs.

[rob katz] “do u think dvi is critical for my production needs?”
no

[rob katz] “if fcp does utilize 2 monitors any thoughts as to a small-ish studio monitor which can double as a portable production monitor?”
I’m a little confused by this…yes FCP works best with 2 or more monitors. A production or NTSC monitor is different than a computer monitor. If you want to get a monitor that can double as a field monitor then more power to you. Most companies have phased out NTSC CRT ‘field’ monitors. Everyone seems to be moving to LCD monitors for field work. But you can probably pick up a good deal on a used Sony or Panisonic or Ikegami CRT field monitor. YOu probably don’t want it over 13″ or it will be to big to go out with you. BUt the NTSC monitor is critial!! Otherwise you will have no idea how things will look when played by on a normal TV set.

Good Luck,

Todd at UCSB
Television Production

[Todd Gillespie]

You should try to ‘pre-comp’ your comp.
Create a new comp with your video settings 720×480 or whatever, then drag your comp into that comp. It should keep your layer intacted. You will then probably need to scale it down to fit in the comp.

Good Luck,

Todd at UCSB
Television Production

[Todd Gillespie]

I believe when we had this problem, it turned out to be a drive issue. Specificaly Medea. We had to tweak some internal settings (in the drive unit) before the problem went away.
Quicktime is the first thing to look at though, make sure you have the right version.

Good Luck,

Todd at UCSB
Television Production

[Todd Gillespie]

Hi Rich,
I don’t think I’ve seen these movies, but are you talking about a ‘bleach bypass’ look?
Minority Report, same look?

If so, then…well it’s bleach bypass in the film development stage. There’s some plug-ins that can simulate this, but it’s a film processing effect.
It’s probably the correct effect, since Spike Lee does most of his fx in the camera.

FWIW

Todd at UCSB
Television Production

[Todd Gillespie]

Hi Bob,
I’m sure other will add a point or two that I missed.

They’re both Kino’s: one is the Foto-flo line and the other are call Diva’s (except the Parabeams) The Foto-Flo’s are a standard fluorescent size. The Foto’s can’t be dimmed like the Diva’s. But one big advantage is; if you are in a setting where you can’t get rid of the fluorescent-you can ‘poison’ the Foto’s by add regular fluorescent bulbs to your Foto and white balance out all the bad color and still control your light.

I believe Diva’s (due to their design) have a higher light output. They BOTH use the same ball socket?? (don’t know why you wrote they don’t?) The first set of Kino’s I bought were the 4 bank Foto’s. They’re a great light, but not that practial to take to location, unless you have a big rig. I’ve rigged my Foto’s for a backfill/kicker. in our studio. They look great and add a lot of fill that you can’t get with fernels. But if I had to due it over again I would, I’d probably get the Diva’s instead. I take my Divas all over, and have 32k & 55k bulbs, for indoor/outdoor shooting.

Not to throw a fly into the ointment, but you should probably take a look at the Mole Biax units. Close to the same photometrics, and a ‘little better’ design. But you can’t go wrong with either. The real decission is whether you should get the 4 unit or the 8?

Good Luck,

Todd at UCSB
Television Production

[Todd Gillespie]

I know it’s part of the Magic Bullet suite.
I think The Foundry’s Tinderbox has something as well.
Also Boris Continuum has several film filters.

unfortunately, each suite run $400-$550.

Good Luck,

Todd at UCSB
Television Production