Zak Mussig
Forum Replies Created
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bogie,
Thanks for the reply. I was using Animation, but the exporting non-rendered vs rendered thing makes a lot of sense. I hadn’t even thought about it.Thanks again
Zak -
Hey Nick,
Nice to see someone else posting from “the Lou”…
I think it’s ultimately a preference, but I believe the standard matte screen will serve you better for video editing / graphics / professional work. The glossy screen is all about being bright enough to see it anywhere, and making every interface look like delicious candy… it’s not going to give you as accurate color and brightness information as the regular one.
I’d go with the standard matte screen.Hope that helps,
Zak -
Best way I know to do that is to run a photoshop action on an image sequence you export from your video. Also, Illustrator CS2 has a pretty sweet function to turn pixel based images into vectors with customizable amounts of detail… I want to say it’s called live trace. There is actually a nice COW tutorial about it, although he exports his footage from / back into after effects, and does some other fancy stuff with it along the way.
I realize this suggestion does nothing for you if you don’t have either of these programs, so I apologize if that’s the case. If you have one or both, you should tinker around a bit with the two and see a) if you can get a workflow put together to get your project done, and b) if you can match the style your client wants to keep from their old project. Unfortunately, or maybe the opposite, there’s nothing built into FCP that I would trust / be happy with to create an illustrated effect.Hope that helps,
Zak -
I had this problem a while back with a bunch of still images. I believe it had to do with the aspect ratio (distort) setting of the image or clip. My sequences were HDV and the answer was to nest the sequence for export rather than exporting the sequence directly. I had a single recurrence of the problem after that and changing aspect ratio setting took care of that problem. If this is happening within FCP and not on export/output, that’s where I’d look first.
Hope that helps,
Zak -
Having a copy per machine means having a license per machine, doesn’t it. If you have 5 legal copies of FCP going on 5 machines you can get a “crossgrade” for one set of your install discs, and use those to update each of your machines, right? You still have five FCP licenses, and it’s an minor update (not a point I’m trying to start an argument over), not a new version so I would think your v5 license should support v5.1. How else would they handle the update for large customers who buy many licenses, but only one or two sets of install discs? Basically, couldn’t he buy himself a copy of FCS for home, and install it with his own license, but also use those install discs to update his machine at work since the update doesn’t change any license information?
Zak
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Captain,
I set the names of the placeholders to be more specific to the sequence it was in and what was being done to it than the file it was based. So rather than render out “boats racing shake.mov”, it would be more like “Sequence 8 stabilize 2.mov”. They’re also in a subfolder all by themselves, so I don’t think that’s a possibility. I’m worried that fear, ignorance, and constant backups are going to be with me all through this edit.Thanks for all of the thoughts… any others are also greatly appreciated,
Zak -
Yeah… it’s a dilly of a pickle. I don’t have access to the tapes because they were shot on DigiBeta and captured as DV right off of those tapes without being dubbed to DV. We no longer (if we ever did) own a digibeta deck at our company, so without an expensive rental it isn’t even my decision whether or not to pay for, I’m not getting at that footage.
The more I find out about how this was done up until I was handed a firewire drive with a project file and DV media on it the more questions I have than really logical answers.
At this point I just need to make sure my media doesn’t keep going bye bye. I set everything to back up before I left for the night, so nothing else should just vanish forever. I know it sounds crazy, but these media files are just straight up gone. They say they’re offline. I tell it to locate them. The file is just not there, even though the others are still right where they were.Thanks for your thoughts so far… please let me know if you think of anything else.
Zak
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Shane,
First of all, thanks for the help.
For now (I’ve just been testing and getting used to the workflow) all of my placeholders/renders for Shake are in the same folder. These QT files are all that are in that folder, and they’re right as rain. The issue is that the master clips for the clips in the timeline that I sent to Shake go offline, and aren’t there anymore to reconnect to. Poof. Gone. The first time I assumed it was some weird thing, or maybe I’d done something out of the ordinary. I was just going to recapture the clip and get on with the project. I asked our production director and was told we don’t have access to the source footage anymore… not good. This is an old project that has apparently been put back on the front burner just before I started here in May. It’s a lot of sailing footage that needs a lot of Shake smoothcam love. I really need to be able to do this without worrying that I’m going to systematically delete all of my footage. I’m going to back everything up tonight when I leave to avoid any potential tragedy… I just really want to know what is happening here.Sorry. That was much more than you’d asked me. I just figured that while I was posting I could add some more details / shameless pleas.
Thanks,
Zak -
Definitely haven’t done that before… but I feel you first instinct (bad idea) may be the right one. Could you just split the files between the two drives, and keep track, if need be, of where they need to get put back after your format?
Zak
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Thanks Harrison,
That seems like a really good way to break any connection with old render files without having to drag a new copy into the sequence.Zak