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About ciaran

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    bristol via dublin
  1. That whole gubbins of landing remote clients isn't easy! Even in my case, I do a lot of work remotely for companies based in the same city, meeting up with them every now and again to start off a project, hand over files, etc. goes a long, long way. Not quite - in my experience, though many Germans do speak good English, not all are fluent. Netherlands, Norway & Sweden would have all have a higher overall standard of English. If you're still planing on staying in Germany for any extended period of time, most potential employers and clients would expect you to speak German. The forums on http://www.toytowngermany.com have a wealth of info about moving over there, job expectations, the hoops you've got to jump through to get a flat, etc. In general, wherever you land, try sort yourself out with some desk space or a place hot desking somewhere as you'll make more contacts, get to know more people that way and jobs often get passed along throughout an office which is obviously a good thing.
  2. www.gimmebar.com does it for me, way less social than Pinterest, if that's your thing.
  3. I'm researching how to get some Google Earth data into After Effects or C4D - I need to be able to animate & sexify GPS co-ordinates from a .kmz file so you can see a route plotted in X, Y & Z space over time on a map, loosely similar to what they did on Britain / Germany / Netherlands From Above which was all data driven visualization. Anybody here have experience with this type of work?
  4. Just thought I'd bump this with the end result. Didn't go with a HDRI of the set (nobody knew what I was talking about), but a couple of dozen reference photos of the set helped big time with getting the lighting in the right place. Ended up forking out for Syntheyes, now I need to get some more jobs which require it, ha... All constructive criticism is welcome! http://vimeo.com/50697619
  5. If you add more hard drives and large graphics card (with 2Gb+ of RAM), you would need more power, so get a bigger, higher wattage power supply. They're relatively cheap and easy enough to replace, so it's not such a big deal to replace further on down the line. I upgraded my PC there in April and had been running the same 700w power supply since 2007 on 2 different machines with no problems. 64Gb RAM is loads for now; same as I've got in my PC at the moment, which is fantastic for AE running on a SSD. If you feel like stretching to 128Gb, go for it. The processor seems expensive - is it top of the line at the moment? Pesonally speaking, when I buy stuff like this, I'll get 1 or 2 steps down from the most expensive, highest spec model as these are always the components which plummet in price a few months after release. If you want to overclock it, you'll need the liquid cooling and the higher wattage power source. Graphics cards & SLI - can't say I know anything about this, so if you find out anything, let us know. However, go with one with at least 1.5Gb RAM & 450+ CUDA cores for use with C4D & Premiere Pro. The one on your wishlist should be ok, it's of identical spec to what I've got and I've had no complaints yet. You'll need to do a tiny modification on a .txt file to take full advantage of the mercury playback engine in Premiere, but it's super easy - check it out here.
  6. Thanks for the replies chaps. I heard good things about Syntheyes Throb, just never used it. I have been having so many problems with Cameratracker though, but when it does work, I am happy with the results. Saying that, the only time it doesnt crash AE is when no other apps are open, its a fresh project with no other comps or assets and it usually, yet randomly, works. Or the camera controller null ends up behind the camera, which is a barrel of laughs... Chris, I was aware of using a larger DOF and faster shutter speed/different shutter angle to allow for better tracking. I already mentioned this to the director and he seemed fine with it as its all hand-held/steadicam stuff. How important would tracker markers be when used with Cameratracker, or are they somewhat redundant and creating more work than is necessary?
  7. I have a job starting this week working on a hefty project which involves me compositing a load of 3D graphics into footage of items sitting on a table. I will be on site for the shoot and just wondering what I need to know & do to get the best & most usable footage possible. The director and DOP have no experience shooting this kind of work and while I know just a little more - I am no expert - what should I look out for on the day? The director is keeping crazy handheld camera moves to a minimum and shooting with a fairly large DOF to make tracking easier. What I plan to do is - Measure the height & distance of the lights from the subject. Get the photographer on the day to shoot a HDRi map of the studio/location for nicer reflections - no idea how necessary that should be to be honest. Hope to fcuk that Cameratracker stops crashing on me - any worthwhile alternatives that wont break the bank to recommend? I use AE & C4D. Thanks in advance!!
  8. take your map of the world into illustrator, break it into the various layers for each country you need. When you import it into C4D, you'll have to rename the layers/objects/splines/whatever, do the same workflow as you've done before to extrude your map. Then animate the colour of your material for each country, I'd say this is probably less hassle than a fuckton of various object buffers and luma mattes in AE, especially if you've got 30 to do. Without opening C4D, there might be a way to use a step effector to get the colour of each country to animate on in sequence, but I'm not sure on that.
  9. Video Copilot's free 3D falloff plugin is what you need.
  10. Can't say I'm a typographic guru by any stretch of even the most fertile of imaginations, but this bunch of PDFs from Font Shop is very useful - http://www.fontshop.com/education/
  11. If you've got Production Premium, import your finished AE comp/fully rendered .mov/.avi to Premiere and add the audio there. You can also send the timeline to Audition for proper tweaking. Or use FCP if that's what floats your boat. Adding stock sound loops and whatnot is easy, but making, designing and creating them is a different beast altogether. Saying all that, if it's got to be for broadcast, properly mixed with a ton of bespoke sound design and all that and given you said you're flying by the seat of your pants, your best bet and surefire no fuck up solution is to get an audio designer to do it.
  12. Nice one folks. The editor I'm working with has Stereo3D toolbox, so it should hopefully work out ok, fingers crossed...
  13. Thanks for the replies folks. I'd found that SVstereo rig earlier, seems like it will be a great help, largely as the project has now mutated into a montage done in FCP with some various mograph pieces in AE. I'm guessing that the workflow will be like this - C4D (left & right passes)->FCP->AE (left & right passes with same camera setup as C4D). Are the left and right passes from C4D even necessary given that they'll be plonked into AE later, or will it look like a flat plane? What do I use then to make the final piece viewable? How do I converge it? Any further links to info on the workflow for this type of thing? As it happens, the TV in question needs glasses to properly view any 3d content.
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