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For the last 13 seconds of my composition, Avid keeps giving me this error message. 
I’ve tried removing all effects from the sequence and adding them again (dissolves and the SpectraMatte for the main clip) and I’ve even re-rendered my After Effects graphics (which have no problems anywhere else in the sequence) and re-imported them.
I am working with AMA material but the my whole sequence has AMA material, so why should this last bit matter?

For the last 13 seconds of my composition, Avid keeps giving me this error message. 

I’ve tried removing all effects from the sequence and adding them again (dissolves and the SpectraMatte for the main clip) and I’ve even re-rendered my After Effects graphics (which have no problems anywhere else in the sequence) and re-imported them.

I am working with AMA material but the my whole sequence has AMA material, so why should this last bit matter?

fuckyeahsources:

Nope. But the real story is better. Bolding mine:

The late Ruth Thompson, a cell painter on “Snow White” who later became a multiplane scene planner, recalled: “We tried everything - airbrush, drybrush, even lipstick and rouge, which is perhaps the basis for the legend because we did, in fact, try it. But nothing worked.

The airbrush was difficult to control on such a small area; drybrush was too harsh; lipstick and rouge unwieldy and messy. Everything proved to be impractical and all hope seemed lost to give Snow White her little bit of color when the idea of using a dye was proposed.

Again Ms. Thompson: “Someone suggested a red dye because the blue day we added to give Donald Duck his distinctive sailor-blue never really could be washed off the cell without leaving a bluish stain where the paint had been applied.”

Ever since the mid 30’s when color became the norm for all the cartoons, not just the “Silly Symphonies,” all paints and inks were made at the studio. During this period as well cells were routinely reused for economic reasons, thus the need to wash them off. Apparently Donald’s special blue color was made with a dye added to the usual powdered pigments. “So we tried that.” As the women gathered around in what must have seemed just another dead-end effort, all eyes became fixed on the red dot which soon became a small glow with no perceptible edge. The hushed silence soon gave way to sighs of relief. The method had finally been found. Now the application.

Among the studio’s many inkers (an extremely demanding profession), was one young lady whose training and skill was unique: Helen Ogger. Just being an inker placed one within the elite confines of this most “holy of holies” area of the Nunnery, as the Ink and Paint Department was so called (Walt had strict and quite Victorian views that the sexes not mingle at the workplace, allowing no male personnel save the “gofer” boy and the paymaster “Mr.” Keener to enter this domain of mostly unmarried women ). But Helen was in addition a very fine cartoonist and one of the few women at Disney’s or anywhere else, who could animate.

Such a seemingly insignificant detail (as the cheek colors) might be thought not worthy of special mention (she, as well as the other inkers and painters, was given no screen credit). But when one adds up the number of footage required to be tinted freehand on each individual cell, the hours suddenly turn into weeks and months. In fact, such a treatment was never attempted again on such a scale and even today, the publicity stills from “Snow White,” most of which do not have the added blush, bear witness to how that little touch of extra care adds to the vitality we see on the screen.

The work was done on all close-ups, most medium shots, and even on some long shots. The Queen was also similarly tinted. Hundreds of hours were needed to complete this task, arduous, repetitive and, of course, hard on the eyes. Ultimately a handful of other girls were needed to assist Helen as the clocked ticked toward the deadline.

Helen had to place several cells together on an animation board, one atop the other, just like in the process of animation, in order to get the ‘registration’ right (the spot of red just right in relation to the preceding and following ones) - all of this without any guide. She would work out her own extremes and then ‘animate’ the blush in inbetweens. Her work deserves admiration and gratitude and it is unfortunate that her contribution has remained unknown and her anonymity unaltered during her lifetime. She was paid, as were the rest of the Inkers, $18 a week, which included a half-day on Saturday and the many, many hours of unpaid overtime “Snow White” would require - all given unstintingly, (by everyone involved, it should be added), to a project whose joy in participating was its own reward.

She eventually became head of Inking and Special Effects and even taught classes in animation at the studio. She left in 1941 (apparently part of the terrible strike that would leave the Disney Studio changed forever), taking her skills with her. She died in Glendale in February of 1980. Perhaps it is safe to say that her departure was critical to the abrupt demise of this now unique effect (it was also used, though on a much smaller scale in both “Pinocchio” and “Fantasia”). None of the other inkers or painters were animators and it is this fact, not just the factor of economy nor the changing tastes, which surely must be considered a reason why such details were never attempted again. The golden age was over.

salviaplathisdead:

natashakline:

For all the artists out there. xoxo

I needed this so much

We recently started watching Les Revenants on Netflix and, along with its lovely landscape shots, it has the most beautiful opening credits! It’s a must watch for sure!

shelovesyoublog:

My eyes are raining lololol 💻

shelovesyoublog:

My eyes are raining lololol 💻

louelladeville:

Real talk

louelladeville:

Real talk

It’s quick but the effect used on Crystal Reed at :05 and Holland Roden at :21 is a great little addition to the Teen Wolf opener!

How many steps does it take to author a DVD?

It takes A LOT. We’re trying to find a way to streamline our DVD authoring process and for the April release, it was quite painful. It was so painful that it was keeping me up at night. That is NOT allowed. I hate having something I can’t control control me like that. Every time I would close my eyes, I would see the assets map in my mind and imagine mistakes (where there weren’t any, btw) and experience sleepless night after sleepless night for thinking these damn things will NEVER get out in time. Sure enough, they got out the door but not without some errors in the assets themselves. How to we make this better?

Currently, we export out of Avid with a “Master” ProRes Quick Time, take that QT and put it into Sorenson Squeeze and set our destinations: DVD, iPod, web streaming, and whatever else we might think we need.
What sucks about this is that when there’s an error in the asset, like, say, a typo or missing lower thirds or something, we do the process all over again: ProRes QT, Squeeze DVD, iPod, web, etc.
Then there’s the asset refresh that sometimes throws my buttons off…
I say “sometimes” because for the first few asset refreshes, there were 1 or 2 (or 5) programs whose assets became unlinked with their menu buttons. That was what I like to call the “Great Button Disaster of January - February 2014”.
What contributed to that was the menus being changed more than once. I kept trying to put numbers and times on it: We have 9 programs with 4 menus each, which equals 45 menus total. It took me two days to design the first set of 45 menus and another 2 days to re-design them. Those were the worst days of it because DSP doesn’t like Photoshop’s layer styles but our menu design kinda needs it, so whenever menu text had to change, so did the PSD, which changed the button connections in DSP. I’m not sure what kept throwing the connections off because the layer numbers in the PSD didn’t change after the re-design. Needless to say, it was such a nightmare…

Anyways, now that that nightmare is over, I wanted to share ONE (out of NINE) DVD processes. I blurred out some crucial text since this isn’t supposed to be “live” until April but just imagine doing this nine times. It’s not that I’m new to the process or anything - I used to do it before (when there were only seven programs) but this is rough. Especially when DSP doesn’t want to burn from within. Oh no, it wants to crash during the last leg of the burn so an extra piece in the labyrinth includes finalizing the DSP project (connections, buttons, menus, assets, etc) and then making a disk image so that it burns properly through third-party burning software.

Yep, it doesn’t get anymore complicated than that! Or maybe it does? I’m sure it’s no walk in the park for even the most seasoned DVD Authors. I’m imaging my nightmares will become less and less with each round I do it. Here’s hoping…