Todd Gillespie
Forum Replies Created
-
Echoing the same opinion.
I had a very limited experience with Photoshop when I started with AE, but having a similar layout helps a lot.
AE is very esotaric and can be very overwhelling so the learning curve is much steeper than Photoshop. Fourtunately for you there are a lot of great FREE tutorials that can really help you get up to speed quickly -unlike when all of the forum leaders had to learn AE! 🙂Good Luck,
Todd at UCSB
Television Production -
Thanks for the welcome. 🙂
If I contribute half of the great information that you guys do, I’ll be happy.
It’s an honor to be associated with such a great team.Plus, I will apologize in advance for my horrible spelling.
Todd at UCSB
Television Production -
If you really need to keep an area of the playhead in the window, then you can zoom out the timeline so it includes your edit. I guess they didn’t see it as a great need since the playhead snaps to where ever you stop/pause.
Todd at UCSB
Television Production -
Sounds like it’s might be related to the upgrade. Opps.
If so, trashing your prefs would be a good thing. Trash your FCP prefs & QT prefs and try again.CHeers
Todd at UCSB
Television Production -
Hi Richard,
I think the goal is to have the footage back here by early Dec.
We’re looking for some shots of our UCDC campus and students activities.Todd at UCSB
Television Production -
It can happen to the best of us.
The fact that you tested it before hand (hopefully with the client watching) goes a long way to showing that it DID work, you HAD it working, and it SHOULD have worked again. No one can predicted when a cable will go out, but the fact it was working before makes it that much more unlikey that a cable should have gone bad. Just bad luck.Todd at UCSB
Television Production -
you probably need to include a specific link for anyone to help you
Todd at UCSB
Television Production -
Matte is spot on as usual.
The Sony BVM line is their Broadcast level monitors. So you might be surprised at the price. I’ve bought several monitors over the past couple of years, and I’ve always ended up the the Sony PVM line. For price and value, they are the best. Ikagemi makes great monitors as well, but they might be harder to get in Italy?Good Luck,
Todd at UCSB
Television Production -
Welcome to the pasture.
The Cow is a great resource, use it wisely.As far as the Sony/DSR thing-you get what you pay for. We have around 15 DSR’s, from the GDV-1000 to DSR 1800. The more expensive the unit, the more inputs and functions it will have. As well as being more robust. Example, we were using a DSR 40 (component I/O) with our Media 100 system, unfourtunately the deck and edit system had a hard time with timecode thru the 422 connection. I call Sony tech support and came to the conclusion that because the DSR 40 doesn’t have a separate head reader for timecode we were getting slipage. So the DSR 40 didn’t work for us in that set up. Also, when you get into the ‘larger DSRs’ they have the ability to lay down preset timecode. Very important if you need to send things to broadcast facilities.
With all that said, if you are going to use Firewire in and out, then I would recommend the DSR-11. We use them with all of our FCP systems. THe are workhorses and will last you a long time with proper care. The GV-1000 uses most of the same parts as they put in their camcorders, so they don’t hold up well under heavy use. A lot of people will just buy a cheap camcorder with a FW port, and use that as a deck. If it breaks, they just buy another one. The choice is yours.Good Luck,
Todd at UCSB
Television Production -
Whew,
I wanted to double check to see if I could do it before I posted it.
Create your crawl on it’s own comp, flat NO spin, NO rotate, No etc (you can adjust y position if you want it lower/higher). Then create a new comp, drag comp #1 then spin, rotate, etc.
For some reason, it doesn’t work the same when you pre-comp and do the same thing.
You should be good to go.Good Luck,
Todd at UCSB
Television Production