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  1. I also use this ALL THE TIME and find it easier to drag and drop the newer files onto a copy of the original setup clip on the timeline then going thru the motions. +1 for this feature! Another +1!! I find compostions useless without having some reference of the overall stage. I design my look in the main timeline, then cut out the needed pieces and paste them into a composition.
  2. BOY this sounds cumbersome! The find/replace option should have a way to look through all timelines and compositions. Kevin Lawson
  3. I agree with Walter Alex, fantastic design! Was it you who designed it? Or, are you technical for playback? What's your role? Just curious... Kevin Lawson
  4. ALso, if you leave the show in "LIVE" mode, then when you load new media in, it will push to all displays in case they have to show it. If we're talking simple graphics, and not 30 Gig video files, this can be done live... with "caveat emptor" in mind I've done this a few times, with both large graphics, and small videos, without interrupting a show. I wouldn't load in the new media to the media pool in the middle of playing back a large video or something, but... it's possible.
  5. I have also found the slight offset of PAUSE or PLAY commands from a media cue helpful. If it's close enough to the media, WO will still pre-load the media clip, without triggering it. I especially find this useful on triggering very widescreen videos within it's own Aux timeline with a clean start.
  6. While I always like the idea of making things work in ways their designers never thought of, and I have also experimented with using live capture with a subswitch to bring images into a WO-based system. However, my understanding is you would need a capture card on each machine that needs to EVER see a particular input. Meaning, if you want your 4 ATEMs attached to 32 WO outputs, at minimum you would need 24 capture cards to allow all 4 ATEMs into all 6 WO display machines to accomplish what you want. There's no ability in WO to program a live input to a machine that doesn't have that feed already attached to a capture card in that display machine. As such, I think the rental of an E2/Spyder/Asscender is way below the outlay for all the capture cards in this system your proposing, never mind that the switchers are generally more flexible for last minute changes and features, never mind the improved latency issues. I hope I'm making this clear, and not confusing the issue further... Kevin Lawson
  7. OK... so a VERY custom world of film... You're right... there are FAR fewer staging events, or museum setups then film production... Just sayin'...
  8. How about we NEVER see this frame rate? This is OLD, BAD Marketing crap to sell cameras that didn't have the memory to record actual 60 fps video. Didn't Peter Jackson, (amongst others,) prove that HFR is highly preferable to low frame rate? 25 fps, OK to deal with old PAL resolutions. (NO other reason, please!) 30 fps, again... OK to deal with NTSC resolutions. (Again. Old, deceased, ancient... NOT needed really.) All the variants of HD 59.97 and the like. (Again... just to be compatible with old systems... there's no REAL reason today for this to even exist!) So. 50 FPS for European power rates. 60 for Japanese/American power rates. All others are a hold back from old systems that were limited by technical capabilities at the time... {END OF RANT}
  9. Joakim - I can't imagine ANY show where I don't need to read the current time of a timeilne! Letting others in the crew know where we are in a cue is a constant need. I would LOVE to have a way to view countDOWN time of a current timeline for out cues and the like, within the Production software. Kevin Lawson
  10. Hello Claude - Thank you for sharing your findings! Very thorough and informative. Kevin Lawson
  11. THANK YOU! This will be helpful for all I think.
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