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Stay away from the Phillips ones. They get green blobs appearing around the edges. My old facility went through four in two years.
But i just asked one of the other flame guys there and he says they just got an Eizo coloredge ce240 and he claims it is the best LCD he has ever seen. 180 degree viewing angle and they guarantee color calibration.
He aked me to say hi by the way Paul (it’s Mike Parsons).
I have a whole bunch of multi tape archives on the shelf behind me. If I remember correctly it’ll warn you your media is to long for the tape and then ask you for a new tape when it is ready for it.
I am managing to work around it luckily. Still a little frustrating when these things happen though. Especially as it added several hours onto the job time due to restoring this previous freelancer’s badly organised reels one by one. Grrrrr
Just a quick update to anyone following this (brief but intensely exciting) thread…
I have narrowed the problem down to one clip that has been scattered liberally throughout all the libraries on the archive. Everything else is OK, but if I select a library or reel that contains this corrupted clip, or the clip itself it crashes flame.
As a result I have had to selectively load clips into my libraries reel by reel. What fun. 🙄
There was a suggestion made that it could be lost metadata containing resolution info, so I will check it out later on tonight. Stay tuned for more exciting archive updates!!!
Yeah I have tried that. That was the error message I got when opening the tape in read only mode.
Im working on some shots like this right now. Except luckily ours are locked off cameras.
Just a background layer then the foreground shot on greenscreen. Nice and simple, but looks very effective.
Please see this thread…
http://www.fxguide.com/postt2658.html
on the topic is there any word of SP2 yet?
hmmm…I missed that post. You haven’t got the link handy have you??
No there isn’t any advantage to doing it the old way. Its just the way I learned, so I’m more comfortable with it.
Loading as an action sounds good though. I think I’ll try it tonight when i get rid of my client 🙂
Does it bring through your transfer modes etc?
Go into import.
Select Photoshop from the image format list.
Select an import mode from the box next to the format box
if you chose layer you need to choose a layer from the layer box (to the right again).
Also set your res. Its easiest to set up your photoshop file at the res you want, then you can just do native res.I generally export all the layers from my photoshop file as seperate fill/mattes and import them as seperate images. That’s just a personal preference though.
The only work around I can find is to go into your animation panel in action, scroll to your layer and adjust your blur/crop etc values there. You’ll get the number pad popping up. Plus you’ll get the added bonus of seeing your keyframes.
Asked our rep the other day and he said he hadn’t heard anything about SP2 yet. If anyone has more info…?
Nice one man!
How did you end up doing it in the end? Manually?
I’ve got a herman miller aeron. it’s an epic piece of furniture. Ridiculously confortable. 🙂
An absolute necessity is the hidden beer fridge behind the desk. Vital for late night sessions when you want to get the agency inebriated so you can get some work done. 😉
Thanks team