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Everything posted by robertbowen

  1. I follow a collection of incredible blogs. Wow. Some truly inspirational work. Unique. That I don't see anywhere else. I can steal ideas wholesale from them. And none of my clients know about them, so they think my concepts are original and fresh. Reveal my sources you say? Hell no! They're my secret weapon! You'd just steal the ideas too! Hope this helps, // RoBo
  2. Isn't it normal practice to use incremental file saves? I have C4D save incremental mapped to CTRL-ALT-SHIFT-S, same as AE. So you'd only lose work back to the last increment.
  3. Cineform would be great if software other than Adobe used it (without separate licensing). Very annoying for Nuke Studio conforms (and a stack of other non-adobe things). Avid MetaFuze needs Neo installed etc. ProRes 4444 XQ would be great if it could be encoded on Windows without an intermediate app (which it can't) DNxHD 444 (eg 365X) would be great if it supported an alpha, (and ideally could be rendered directly out of AE as an MXF instead of the AME OP1a route) PNG quicktimes are inefficient and limited to 8-bit straight out of AE So in terms of codecs (not image sequences) that can be encoded cross-plaform, include an alpha, can be encoded 10-bit+, near-lossless. The options are: Cineform (and stay within the Adobe ecosystem); or DNxHD 444 MXF and separate alpha I am really hoping for a DNxHD equivalent of ProRes 4444 XQ but not holding my breath. If anyone has an intermediate cross-platform idea that's better, I am all ears.
  4. There seems to be a related issue to the hold/pencil system, which is that certain types of clients like to book busy people, and when they're trying to reserve dates and a freelancer can only fit in a couple of days in 4 weeks time, one of which is a 'Sunday', this seems to appeal to some clients who like to think they're backing the right horse, and not using someone who's 'gone off the boil', as it were. And some freelancers seem to drum up a bit of 'BS' to create the appearance of always seeming busy for the benefit of these type of clients. And in contrast to the caffeinated adrenaline busy guy who they like to phone, maybe Blinky's more laid back approach appeals to clients who favour quality over quantity. Some freelancers I know seem to be very chilled out and always have piles of time available, but seem to exude an aura that a job will get their full attention. So dumping the hold system might work against someone who the former type of client gravitates towards.
  5. If the USA 'hold' system is the same as the 'pencil' system (which is the terminology my UK clients use), I get all sorts of requests to 'pencil' huge chunks of dates, of which about 30% ever come to fruition, another 30% 'slide' to later dates and the rest are with solid clients who actually tell the truth. I used to worry about lining everything up in an organised way, being careful not to tread on the toes of other projects, but now I say 'yes' to everything. Bring it on! To hell with overlapping 'pencils'! It all seems to work out in the end. I'm working remotely by the way, so clients don't get to see the inner machinations of my project juggling.
  6. 3840x2160 and a second monitor is needed Is this what the cool kids are using nowadays? I'm still on two 1920x1200's !!!!
  7. Maybe some people will know what I am talking about... I think this advice can help anyone in a creative profession, especially people predisposed to melancholy... I would recommend reading Zen and the Art of Motorcycle Maintenance. I mean read the book, not just the summary. Like, you know, in the old days. It helped me, and helped some of my friends. People get too serious about whether their (ultimately transient, inconsequential) stuff's any good or not and forget to live an actual life.
  8. Are we talking paid or unpaid? Any work I submit for an unpaid pitch is always accompanied by a note about IP ownership. Otherwise you get exploited as an 'ideas machine'.
  9. To me, the advantage of building yourself is you're not scared of the box afterwards, so if things need swapping or replacing you're not afraid to get your hands dirty. But I believe in building a piece of crap as your first machine, to get all your mistakes out of the way. If it's your first, for such a good machine I'd get a builder to build it. It doesn't need to be Boxx, just someone who takes pride in their work, so it's all neat and tidy inside. Don't know about NYC, but in the UK it would be £100-150. But if you insist on doing it yourself, plan the wiring, then plan again. There's a woodworking phrase 'measure twice, cut once'.
  10. Which processor did you end up putting in this machine, and what's the heat like when (for example) you leave the thing rendering overnight? Although I noticed that Origin can overclock the K CPUs (!!!) I would be worried about long term heat dispersal, and about cooking the thing with hours of rendering.
  11. 1:02 "DIALM" Client: "Yeah, it's great, but we need to integrate the word 'DIALM'" -- But what does DIALM mean? It doesn't mean anything? Client: "Digital industrial Asset Lifecycle Management. You don't need to know what it means. Just put that acronym somewhere. On its own. Without explanation" -- But the audience won't know what it means... Client: "That doesn't matter. Our stakeholders demand it." -- Always with the goddam stakeholders.
  12. After trying to do this myself (to take a computer for work abroad in airline carry on), I can say with some certainty there isn't a PC option that fits. The smallest PC I could make with full length GPU and a desktop i7 was based around a SUGO SG09 case (micro-ATX motherboard form factor, but smaller than the Corsair) which can take an 850w PSU, proper cooling and 32GB RAM. Even then it's quite tight inside. It's small, but with a decent PSU it's about 9-10KG all-in, and not something I'd want to haul around on a train for very long, unless you were prepared to put it in a peli with wheels or something. The mITX cases (eg the Corsair 380T mentioned above) are limited to 16GB RAM on almost all mITX motherboards. Below that size it gets very expensive (HP zbook territory). A lot more money for a lot less CPU and GPU power than quite a cheap mini-desktop (due to mobile processor versions) and still about 5KG fully loaded. But on the plus side the zbooks can be purchased with 17" dreamcolor screens.
  13. The Foundry should do a Carl Icahn, buy Adobe and asset strip the hell out of it.
  14. http://aescripts.com/ Would be better if it was built-in though.
  15. From a UK point of view (and I'm only really passing on my understanding of what my accountant says): * no tax benefit to becoming a Ltd company as a freelancer if you gross less than about £40k. Really you need to be grossing £45K+ * various VAT advantages (if you're VAT registered) including helping separate business purchases from personal in the eyes of HMRC. * mortgage application advantages (because your Ltd company pays you in PAYE and dividends, so you have an 'official income' in the eyes of lenders).
  16. If you're looking for lossless, why use a container (QT/MXF etc)? Wouldn't TIFF, DPX or EXR be the preferred losses format?
  17. Haven't read The Color Correction Handbook, but I found this book to be very useful. The Art and Technique of Digital Color Correction Steve Hullfish · Focal Press/Elsevier ISBN 0240809904 In some ways it's quite dry, but it does teach the fundamentals, including how to use scopes properly, and to get achieve a neutral 'technical grade' to match shots, before you apply a look to a sequence. It's also fairly software-agnostic. Also I've noticed when I've attending real grading sessions with a proper colourist (grading footage I'm already familiar with) that the combination of good monitor, D65 lighting, neutral paint behind the monitor, and no daylight makes it much more obvious what has to be done to a shot.
  18. If you use a screen-recording you could use a difference matte to separate strokes out. (ie, use the difference between current time and a previous time)
  19. Select the keyframes in the time line, then from the timeline menu: key > uncheck clamp key > uncheck auto tangents With the move tool selected, click on a key in the viewport - there will be black motion path handles visible which can be manipulated as in AE.
  20. My method is a removable drive bay (FW800, eSATA etc), and bare 2GB SATA drives e.g. http://www.wiebetech.com/products/RTX220-QR.php or you can build your own for about £70 Then archive the bare drives. I have about 60GB of backups. Advantages are it's cheap enough to keep two copies of everything, and flexible. Be careful not to touch the electronics on the bare drives with your fingers (or you risk zapping them with static).
  21. Primatte. In short it creates a 3 dimensional polygon shape (in the RGB colour space) that encompasses the pixels you don't want and another polygon that encompasses the pixels you do. The different between the two is the semitransparent edge detail. Steve Wright does a good description of this for Nuke primatte on youtube, and the AE primatte works in a very similar way. Your aim is to select as many different grey pixels as possible (BG), then clean up the key by selecting FG colours that are nearly grey, but not in the grey BG. Just use the main primatte key for the edges, and clean up the BG with a hard key/soft key approach... Crush the matte until it's nearly black and white. Soften it a little with blur. Expand it a little, and clean up stray BG pixels (multiply the edge matte with it). Then in a separate operation contract it a little and clean up stray FG pixels (add this to the edge matte). Depending on your FG you might have to clean up some areas with garbage matte style roto, or paint in odd frames.
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