[Will Macneil]

Anyone know what those ports are on the back of the IO? Next to the firewire port.

W

[Will Macneil]

Thanks!

W

[Will Macneil]

Where are you guys getting these details from? I want to join the fun.

W

[Will Macneil]

You’re right I don’t really need FCP in there. I just wanted to cut my stuff back into the film in FCP so I could see it in context. So I’d need the quicktime as a copy of the main film.

But the more I think about it, tiff sequences seems like the way to go. It’s much easier to move them on and off disk as well.

Thanks for everyone’s input.

W

[Will Macneil]

I’d go to IMDB.com for to look for Ken Burns and the rest.

I’d also highly recommend the documentary The Kid Stays in the Picture. If you’ve got time to take things a bit further, you can get effects like these by matting out and object from a photo and placing it over another photo. If you apply different motion paths to them you can really bring things to life.

One simple thing to remember is to import your photos at the highest resolution you can. This will allow you to zoom in on sections without them becoming blurry.

W

[Will Macneil]

Well, going to tape isn’t really an option since I’m not set up with HD gear (well, not a VTR anyway.)

I wasn’t really planning on doing invisible edits – sounds like a terrible idea to me actually – it was just one of the supposed benefits of staying within the codec.

As for the meridian codec, I can’t seem to install that anyway.

Any suggestions on a good workthrough codec for both the Nitris and my FCP and Shake setup?

Thanks,

Will

[Will Macneil]

Thanks everyone.

Will

[Will Macneil]

If I’m looking at the right thing, the video tutorial on the 9.5 cd is for creating normal maps for the gnome which has already got a displacement map applied. What I want to do is create a normal map from a mesh – a model with no texture applied.

W

[Will Macneil]

A couple of thoughts:

Create new master clips from the sequence. It’s under the tools menu. I think this will trim the clips to the cut duration.

OR

Select the sequence in the bin, in media manager switch the dropdown menu to create offline. Then delete unused material. Change your handles. I think this will work with an offline timeline.

OR

Export your sequence using XML – this will keep your effects etc where an EDL wouldn’t. Re-import it and create new master clips.

Hope these work. Sorry I don’t have time to test them myself right now.

W

[Will Macneil]

You might take a look at Traffic. It was on the LAFCPUG website a few weeks ago. It’s a node based system where you can run a sequence through a series of operators like set start TC to XX:XX:XX:XX, insert black at xx:xx:xx:xx, insert slate at xx:xx:xx:xx, etc.

W