Jump to content


  • Content Count

  • Joined

  • Last visited

About PostProdMan

  • Rank

Profile Information

  • Location
    San Diego, CA
  1. If you have deformers available in the Broadcast version, you could use a combination of the Bend and Wind deformer.
  2. Where are you located? I can't seem to figure out what city/country you are based in. Also, I'm seeing you everywhere! Way to canvas the internet/reddit! -Edit: I finally found it. Columbia! I saw it on your other links (Behance, Vimeo, Youtube), but not on your actual web page.
  3. If it's that much of an issue, it may be time to ditch FCP and roll over to Premiere. That way keeping it all in the family you can keep from getting any errors in translating the speed ramps. Of course that may seem a bit extreme, especially if you are set and comfortable with your FCP workflow. We've been making the shift, and while there are some growing pains, and some things that blow your mind that Adobe didn't consider, the benefits are real.
  4. That's cool, but you can already do that with Xtrafinder, and it's free. https://www.trankynam.com/xtrafinder/
  5. This is fantastic! So damn detailed. I can't wait to set aside a few minutes to take it all in. Thanks for the post.
  6. Agreed! We have that Eizo at work, and it's very nice. We've played around with a few 4K monitors as well, and until I'm delivering 4K content on a regular basis, I'm not really sold. Unless of course the monitor is over 30 inches. We've only tested a few 24"s and larger 4K Bravia TVs. If you're bread and butter is 1080, a 4K monitor can be less productive. Everything becomes much too small, and it's not easy to read. Of course with OS and app updates, UI panels will become scaleable, but then you just end up making everything bigger, and you lose all that gained resolution. Also, if you'll have to scale up your 1080 comps to make them legible, which is a step in the wrong direction. I think in our current 1080 environment, the perfect situation might very well be a 30"-ish 4K monitor for your layers/timeline, and a second monitor at 2560x1440/1600 for your video/tools. Of course, I welcome any other thoughts or insights that I may not have considered. Edit: BTW, I'm not looking forward to rendering 4K content! I miss the glory days of 720 renders
  7. That "could" work. I'm pretty sure you are on Windows, so it could work fine. However, if you are using Mavericks+, you'd probably want to disable the multiple workspaces function, since it'd be maddening when mousing from one display to the other without activating the dock. Although, I'd hesitate on spending nearly $2k on something that "might" work. Perhaps you could find one in a brick and mortar and see how that might work out.
  8. We bought one at my office, and nobody likes it. Normally we rock either dual 27" 2560x1440s, or a 30" 2560x1600 and a 27"2560x1440. The superwide LG is wider than a std 27", but you really miss that extra real estate with the dual monitor setup. If you try to use the LG and a 27" side by side, it' way too long, and strains your neck looking back and forth. Something else to consider, is that if you are used to working in a certain manner, your UI panels need to be re-customized. Using the LG I missed having the ability to snap my panels to the edges of the screen. We came to the conclusion, that if you absolutely have to have a single monitor (especially as an addition for a laptop), it isn't awful, but when using AE, layers are king, and the vertical space takes priority. The other configuration we posited that might work, was to place the LG below the 30" at an angle, tilted up as if it was on the desk. This could work really well for video editors, but it doesn't really solve the vertical space issue. Edit: Also, it has a fixed stand that's pretty low, so you'd have to figure out how you'd like to account for that (third-party stand/arm, or risers/books).
  9. Try using the render region instead of the entire composition.
  10. Thanks Mylenium. I suspect you are correct. J Montreuil, I'll take a look and see if that works out. In the meantime, my band-aid is a simple one. I just duped the project, went to the offending frame number, and made the animation static (killing the other keyframes). Then I outputted 60 frames prior to the "pop," and was able to use that as a cross-dissolve to "ease" into the offending "pop." It actually works well, when I get an opportunity, I'm def going to check out the preset. Thanks.
  11. Alright, I got another one for you kids. I've got a scene that I'd like have a sunrise. I've animated the sun/time of day parameters, and I've gotten some pretty favorable results. However, when the "sun" rises, I keep getting a 1 frame "pop" of light/color at a particular time. Basically, the shadows, lightness/darkness all animate smoothly, then there's a "pop" of bright light/color, instead of a nice smooth transition, and then it continues the smooth animation to being brighter. To help visualize, in AE terms, it looks like a time-remap issue where the in-between frames are missing. Initially, I thought that maybe there was a piece of geometry that might be occluding the sunlight, causing the error. So I just placed a cube as a placeholder, and deleted the rest of the polys to see if anything was blocking the sun, and I'm having the same issue. Any suggestions?
  12. Yeah, I've tried that already, and it will select all the UV tags, instead of the one that I'd like. Thanks though!
  13. So I have some supplied models that are used in-game. They have been exported from Maya via FBX. Everything is generally fine, however I'm getting some odd flickering on some seemingly random materials/polys when I net render. FYI - not using GI, and it's not a lighting/render issue. I've been troubleshooting, and a common denominator among the offending polys is multiple sets of UV tags, and I'm trying to see if the UVs named "lightmap" might be causing a conflict with the rest of the UV tags. However, this has become quite time consuming. Is there a way to select only the UV tags named "lightmap?" I've tried to use the search field in the objects pane, but that doesn't seem to work. Even if I'm wrong about the cause of my flicker issues, it would be useful to know if this sort of thing is possible. Thanks in advance!
  14. We went ahead and just dupe'd the camera twice, and set the offset of each to +/- 100% respectively. There's some overlap in AE, but it seems to work.
  • Create New...