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beckmanvfx

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About beckmanvfx

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    MoGraph Superstar
  • Birthday 03/01/1972

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    http://www.beckmanvfx.com
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    beckmanvfx@gmail.com

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    Boston, MA
  1. Agreed with Chris. If you're going for photo-realism, vRay is essential IMHO. Probably not so much for motion grfx, unless there's a certain physical reality component of your mograph scene. Typically I need to allow for extra time when texturing/lighting & render tests when using vRay, which would probably be prohibitive for mograph work. Definitely check out both the vRay for C4D site, as well as the forum. Lots of great info there.
  2. Yes, point taken. If they slack off that could definitely pose a problem. They haven't yet, so I'm not too worried that it's going to happen any time in the near future. (Although I agree that the potential is greater when dealing with such a large company). And frankly, I feel like they've really done some great things lately, which I think bodes well for the future. However, I guess the best thing to do is always stay flexible and on top of what's out there, since you never know when things are going to change.
  3. I really don't see anything in their pricing policy that I would call suspect or regard as fleecing. I'll put myself under the category of someone who enjoys the monthly subscription for the Production Premium. And like MSA's, I can calculate for the year what my software upgrade costs will be. Over the years, with many different software vendors, I've found that you pay to keep current, one way or another. Obviously it works out for them to keep their users on the hook (in a way) by having non-subscriptions being prohibitively high, but that seems to be quite standard these days. I don't believe that just because of this, they will be able to rest on their laurels and stop developing new features. (as Apple did with FCP) No one is being forced into anything against their will. There are competitive products to everything. (disclaimer: I'm talking about PPro, AE and PS. the rest of their products, I know very little about -feature and competitor wise. so I could be wrong if you're talking more about AI or something.) -Don't like AE? Digital Fusion can do it all and more. Not a fan of PPro? there's too many alternate options to even list. I happen to use AE and PPro because they work very well together and speed up my workflow. However, I also own and use many of their competitor's products as well. Whatever this whole "Creative Cloud" business is about and what it means, I have no idea. Honestly, I read the first paragraph on their web page and my eyes rolled back in my head: what a bunch of marketing malarky. It's completely nebulous corporate speak: Adobe Creative Cloud is a major new initiative that will radically redefine the content creation process and become the focal point for creativity. It will reinvent creative expression through a new generation of applications and services that reimagine how people interact with creative tools and build deeper social connections between creatives around the world. "reinvent creative expression" "reimagine how people interact" "build deeper social connections" -oh please. That says a whole lot, without telling me anything. I actually feel bad for the developers of AE and PremierePro; they have to live in this world. God only knows how many TPS reports they have to file on a daily basis.
  4. Whenever I do these, I find it helps to not think of it in terms of separate screens. (that is providing the final videowall, or projection is meant to look seamless). If it's four screens wide, build a comp to the combined dimensions and chop up the final render in AE into it's necessary single-screen deliverables. Of course, using an overlay during composition to make sure important elements like text aren't landing in a bad way across screen breaks is a good idea. -mike
  5. Look, the writing has been on the wall since they killed Shake, so no one should be too surprised. Yes, there was a time when the pro market kept Apple afloat. That was quite a while ago. If they were to continue building workstations, I would continue buying them. Even, if they stop building workstations, I'd still have a mac setup in my life, just to continue running all the igadgets and lifestyle/business apps. Too bad they can't figure out a way to cram two processors into an iMac (and more ram slots). I'd buy one in a second, but I don't see that happening as it would interfere with the aesthetics, which as we know is crucial. (seems silly, but it does make a difference). While I have recently found the Mac-mini servers (with i7 quad core/hyperthreading) to be excellent and cost effective additions to a C4D renderfarm, it's still important to have a beefy workstation up front with lots of ram and plenty of cooling to do the heavy lifting. I've been using my imac lately as my main workstation with my macPro as a render node to see if the iMac's can handle the day to day work. I'd say 80% of the time, an iMac is "good enough", but there's that 20% of the time that you really need a full blown workstation (certainly with AE). I'm very interested to see how the landscape will change shape if the macPro is discontinued. I'm about six months out from needing a new workstation and I'm certainly waiting to see where the community at large decides to swing. A few years ago I had quite a heavy investment in PC hardware vis a vis Boxx workstations. I could certainly go back that way as I was very happy dealing with their products and support. (switched to Mac for some specific FCP jobs and just kept with them). Part of me is tempted top see what kind of fire breathing dragon I could build from newegg. Luckliy, as a primary user of CS5.5 and C4D (like many people) I am not tied to any one operating system.
  6. I'd really just like Adobe (or is it Maxon) to continue development so that an aec file can simply be updated. Better yet, something like a .chan file importer for AE would do the trick for me.
  7. I've only been working with FCPX for a couple of hours now, but so far I am not much of a fan. It feels anything but pro. I was going to give it a shot on an upcoming project. nuts to that, no XML in or out, so I couldn't move my project over to another platform even if I wanted to (God forbid if I HAD to). Oh wait, at least you can import iMovie sequences. Phew. -Looks like my Premiere/AE workflow is safe for now. Adobe might want to jump on this chance to point out their differences.
  8. I have both Mac and win machines running net render, no issues of which to speak. (Other than my main workstation/master, all other machines here are connected via WiFi. I suppose I could realize better performance with everything hard-wired, but I typically only need NetRender for the computationally intense shots, so file swap becomes less of a bottleneck issue). -mike
  9. Rob Garrott did a presentation at NAB for C4D that touched upon this topic. (I believe it's available on Cineversity-live); a pretty good set of best practices regarding workflow. -mike
  10. I'll take the rich blacks of the LED over the grey of the LCD any day. (I'd say it's about an equal wash when comparing the downside of LED reflections vs. the way LCD matte screens spread room light all over the screen -that is unless you like to work in total darkness, to which I would reply: call me in a month when the migraines start.)
  11. I'm a sole proprietor. I work very hard for every dollar I make. I don't make $1 million/year, yet I pay for all my software licenses. Adobe CS suites are not that expensive and certainly pay for themselves. When I hear of companies pulling this shi!t, it rubs me the wrong way. (granted, $1mil/per year for a company of 7 is probably just enough money to stay afloat, factoring in all the associated costs and taxes). Before alerting Adobe, maybe your boss would go for the subscription plan.
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