This week, I’ve finished (sort of) the animation for “The trilobite hunters”. It’s all rendering now – only since I’ve switched to 64 bit and a new version of 3ds max, I’ve only managed to get one system going on it so rendering will be slow.
That’s OK because I could do with a break on this project. It’s about time I finished it, and it’s close enough that I can almost see the result…. I don’t mind taking a breather and getting rid of some of the admin and other things on my desk while my trusty PC renders away at the animations.
It turns out some of the DVDs I’ve sent out of “how to colonise the stars” have not worked (I should have tested them before sending, but I was in a rush) – so I’ll have to do them again. Also, the drive with the master on I took in to be dubbed onto tape didn’t work either, so I’ve had to get a new drive and do a new master.
No problem – and actually quite a good thing because although I spent £60 on a new firewire 800 drive and took a night of rendering to create my uncompressed SD master, doing it that way made it a lot easier for Stanley’s to copy it – so the cost is going to be about £250 instead of about £550….
In other news, I’ve decided to have a go at 3d printing – via www.shapeways.com – if you’ve not heard of this, it’s a way of creating real plastic objects from your 3d designs. Basically you send them a model and they return it as a real object – for a price. The price seems pretty reasonable, so I’ve decided to give it a go. If it turns out well, I think this is going to be big… I might even start inventing some products… might be fun!
The European elections are taking place with the government falling apart – quite literally – the cabinet is looking more like a colander with people quitting left, right and centre.
We’re all supposed to be angry about the expenses scandal, but I can’t muster the energy to be outraged – I’ve never met anyone who didn’t stretch what was possible on their expenses and although it’s clearly something that needs sorting out, it’s a symptom of bad organisation and the fact that we don’t pay politicians enough rather than dishonesty, I think.
There are lots of things that were wrong with the culture to cause this and lots of people doing things they shouldn’t have, but it sounds as though all the civil servants were telling them it was all fine right up to the point where they all got told it wasn’t – and that’s a bit rubbish.
Strange though it may seem, I don’t think they’re a crooked lot – I think they generally try to use everything they get to it’s best advantage and they’re keen to push the limits they’re given, but then we wouldn’t want politicians that didn’t, would we?
Anyway – what’s interesting to me is that this whole thing has caused an explosion in little parties – maybe I should make a documentary following some of the no-hope candidates around before the election next year (or next week, which seems more likely)…. It’d be interesting to explore what democracy means when you’ve got no hope of being elected…
Mind you, I vote Lib Dem, so what does that tell you?
Friday, June 5, 2009
Friday, May 29, 2009
A short week this week – but I’ve managed to do quite a lot of work on modelling and animating my trilobites. I’ve really gone for bright colours – without any scientific reasoning beyond the fact that trilobites are the first creatures with true eyes, and developed into such amazing shapes – so I’m treating them a little like reef fishes.
I’m doing some quite impressive shots – so I’m ending up with lots and lots of creatures in each shot, which really taxes my machine – and slows everything down. Still, I’m having lots of fun with physics simulations and crowd behaviour, so there are some interesting techniques being used.
Website
My SEO (search engine optimisation) work earlier in the year does seem to have placed me higher in internet searches, and it is driving visitors to my site (around 70-80 per day ) but it’s not generating any enquiries. The enquiries I got from 200 or so visitors garnered using Google’s sponsored links generated roughly an enquiry every day, so there’s a definite difference in quality of visitors.
It seems the searches are less targeted and a lot of them are image searches. It’s no bad thing to have people viewing my work in this way, but it would be good to be getting some actual work from it!
All I’m getting right now is a lot of people emailing looking for work experience….
Maybe it’s a sign of the times.
I’m doing some quite impressive shots – so I’m ending up with lots and lots of creatures in each shot, which really taxes my machine – and slows everything down. Still, I’m having lots of fun with physics simulations and crowd behaviour, so there are some interesting techniques being used.
Website
My SEO (search engine optimisation) work earlier in the year does seem to have placed me higher in internet searches, and it is driving visitors to my site (around 70-80 per day ) but it’s not generating any enquiries. The enquiries I got from 200 or so visitors garnered using Google’s sponsored links generated roughly an enquiry every day, so there’s a definite difference in quality of visitors.
It seems the searches are less targeted and a lot of them are image searches. It’s no bad thing to have people viewing my work in this way, but it would be good to be getting some actual work from it!
All I’m getting right now is a lot of people emailing looking for work experience….
Maybe it’s a sign of the times.
Friday, May 22, 2009
I’m really getting somewhere with the documentary now – it’s almost the right length and almost the right shots. It’s also looking pretty interesting… I think we could have a good programme here.
Meanwhile, how to colonise the stars has been sold to an airline, so now I have the rather rubbish task of doing all the fiddly and expensive stuff – like creating tapes of the various soundtracks the distributors need…. It’s a real pain, and something I should build into my editing to make it easier – but I don’t.
Anyway, when I took the hard drive into Stanleys, they couldn’t get the info off my hard disk, so it looks like I’ll have to get a new one and do another copy….
I also got a bit more information on why transfer from disk to tape costs so much – or rather how I can make the transfer cheaper and easier. basically, I have to use uncompressed video and a firewire hard drive…. So I’ve ordered one and maybe that’ll give me a better chance…
Things have taken a lot longer than I thought they would this week, and lots of little jobs have made things a bit slow. I’ve got a logo I’m supposed to be designing and it’s taking ages – mainly because I don’t seem to be able to incorporate all the complexities into a simple enough design for the clients. That’s always the problem with logos I guess – there’s so much to communicate with them, but it all has to be clear and simple.
That’s why people charge so much I suppose (although I don’t – I don’t do the kind of logos that require masses of research and focus groups – it’s just not worth it!)..
Anyway, I finally got into the animation for “the trilobite hunters” documentary - and spent most of Wednesday trying out a technique for doing one particular shot which took ages. Basically I wanted a shot of a mountain rising out of the ground and the rocks inside it fracturing…
There’s an easy way to show this, but I decided it would look rather nice to model hundreds of breaking rocks as they shattered into pieces and create the animation as a simulation (rather than animating each piece one at a time). The problem is, it’s very difficult to get the rocks to break realistically, and it takes ages to simulate the effects on hundreds of rocks at the same time.
I don’t think the result is as good as it could have been – I had to abandon my idea of having sand pouring in from the top layer to flow over the broken rocks because it would have meant hundreds of thousands of particles flying about and even a quad core 8gb machine couldn’t handle it….
still, it's good to be doing a bit of experimental animation again - so often you end up just doing the same things over and over again the same way because you've got no time to play with new ideas!
Meanwhile, how to colonise the stars has been sold to an airline, so now I have the rather rubbish task of doing all the fiddly and expensive stuff – like creating tapes of the various soundtracks the distributors need…. It’s a real pain, and something I should build into my editing to make it easier – but I don’t.
Anyway, when I took the hard drive into Stanleys, they couldn’t get the info off my hard disk, so it looks like I’ll have to get a new one and do another copy….
I also got a bit more information on why transfer from disk to tape costs so much – or rather how I can make the transfer cheaper and easier. basically, I have to use uncompressed video and a firewire hard drive…. So I’ve ordered one and maybe that’ll give me a better chance…
Things have taken a lot longer than I thought they would this week, and lots of little jobs have made things a bit slow. I’ve got a logo I’m supposed to be designing and it’s taking ages – mainly because I don’t seem to be able to incorporate all the complexities into a simple enough design for the clients. That’s always the problem with logos I guess – there’s so much to communicate with them, but it all has to be clear and simple.
That’s why people charge so much I suppose (although I don’t – I don’t do the kind of logos that require masses of research and focus groups – it’s just not worth it!)..
Anyway, I finally got into the animation for “the trilobite hunters” documentary - and spent most of Wednesday trying out a technique for doing one particular shot which took ages. Basically I wanted a shot of a mountain rising out of the ground and the rocks inside it fracturing…
There’s an easy way to show this, but I decided it would look rather nice to model hundreds of breaking rocks as they shattered into pieces and create the animation as a simulation (rather than animating each piece one at a time). The problem is, it’s very difficult to get the rocks to break realistically, and it takes ages to simulate the effects on hundreds of rocks at the same time.
I don’t think the result is as good as it could have been – I had to abandon my idea of having sand pouring in from the top layer to flow over the broken rocks because it would have meant hundreds of thousands of particles flying about and even a quad core 8gb machine couldn’t handle it….
still, it's good to be doing a bit of experimental animation again - so often you end up just doing the same things over and over again the same way because you've got no time to play with new ideas!
Friday, May 8, 2009
festivals
Ok – I’ve now pitched “how to colonise the stars” to 10 or so festivals. I have no idea what to expect. There are a couple of festivals dedicated to scientific programming, so they’re the ones I’m thinking I’ve got the best chance with. Still, anything (and nothing) is possible.
I did have a bit of good news. My distributor’s just returned from Mipcom and gave me a call to say they’ve had more requests for screeners for “how to colonise the stars” than for any of their other titles. That’s about 45 channels considering buying it – which is good news – and one airline has already taken it up.
That’s even though they’ve decided to market it as SD rather than HD. It seems as though HDV is no longer good enough for the HD market.
Lucky I’m now working in full HD for the next projects I guess…
My next documentary – the vegas, bug digging one without a name – is now coming on faster. I’m actually getting to the stage where I can see the whole production. And it’s even a bit over length – which is great considering it was shot over just a week. I always like to be able to trim down rather than pad out whatever I’m working on.
I’m hoping to have a rough edit by the end of next week, and start working on the animations.
It’s about time too…
And another piece of good news is that I’m going to be able to use the new version of Max, so things should be faster and smoother.
Max 2010, I can see already is a great step forward in subdivision surface editing – if that makes any sense at all to you….
I also got a chance to visit a big animation studio this week (Darkside Animation). It’s always good to see how the other half of the industry live… and how they work on very large projects (projects which I can’t tell anyone about right now, but which will hit the limelight later in the year). Anyway, the one thing you do notice is the very specific skills of the animators – each person seems to specialise in a small part of the process – very different from my work where I do everything from modelling to texturing animation, rendering and editing…
I can see why they work the way they do, and they certainly produce very good work, but I’m pretty convinced I’d rather work my way because I can bring in specialists for certain areas of a production when I need to, but at the same time I do have a pretty good overall understanding of every part of the job, so I can be flexible.
Pirates
There’s been a lot of discussion on documentary forums about the decision by the courts to imprison the owners of Pirate Bay – the bit torrent site which allows users to swap everything from music to films…
The discussion was mainly around whether it was right or wrong that people can now download pretty much anything they like regardless of copyright – and as my living depends entirely on copyright, I’ve got a bit of a vested interest.
However, it seems to me a bit of a pointless argument – copyright is on the way out. It’s not dead yet, but it’s not going to survive the internet revolution, and the best we can do as filmmakers, writers and animators is look for ways to make it work for us.
I’m not entirely sure how that will work out – or even whether TV and film will eventually become things that only get produced by people willing to do it for nothing… However, I’m pretty sure there will still be production one way or another because if there’s one thing that will stop file sharing dead in its tracks, it’s if there’s nothing being produced to share….
Ok – I’ve now pitched “how to colonise the stars” to 10 or so festivals. I have no idea what to expect. There are a couple of festivals dedicated to scientific programming, so they’re the ones I’m thinking I’ve got the best chance with. Still, anything (and nothing) is possible.
I did have a bit of good news. My distributor’s just returned from Mipcom and gave me a call to say they’ve had more requests for screeners for “how to colonise the stars” than for any of their other titles. That’s about 45 channels considering buying it – which is good news – and one airline has already taken it up.
That’s even though they’ve decided to market it as SD rather than HD. It seems as though HDV is no longer good enough for the HD market.
Lucky I’m now working in full HD for the next projects I guess…
My next documentary – the vegas, bug digging one without a name – is now coming on faster. I’m actually getting to the stage where I can see the whole production. And it’s even a bit over length – which is great considering it was shot over just a week. I always like to be able to trim down rather than pad out whatever I’m working on.
I’m hoping to have a rough edit by the end of next week, and start working on the animations.
It’s about time too…
And another piece of good news is that I’m going to be able to use the new version of Max, so things should be faster and smoother.
Max 2010, I can see already is a great step forward in subdivision surface editing – if that makes any sense at all to you….
I also got a chance to visit a big animation studio this week (Darkside Animation). It’s always good to see how the other half of the industry live… and how they work on very large projects (projects which I can’t tell anyone about right now, but which will hit the limelight later in the year). Anyway, the one thing you do notice is the very specific skills of the animators – each person seems to specialise in a small part of the process – very different from my work where I do everything from modelling to texturing animation, rendering and editing…
I can see why they work the way they do, and they certainly produce very good work, but I’m pretty convinced I’d rather work my way because I can bring in specialists for certain areas of a production when I need to, but at the same time I do have a pretty good overall understanding of every part of the job, so I can be flexible.
Pirates
There’s been a lot of discussion on documentary forums about the decision by the courts to imprison the owners of Pirate Bay – the bit torrent site which allows users to swap everything from music to films…
The discussion was mainly around whether it was right or wrong that people can now download pretty much anything they like regardless of copyright – and as my living depends entirely on copyright, I’ve got a bit of a vested interest.
However, it seems to me a bit of a pointless argument – copyright is on the way out. It’s not dead yet, but it’s not going to survive the internet revolution, and the best we can do as filmmakers, writers and animators is look for ways to make it work for us.
I’m not entirely sure how that will work out – or even whether TV and film will eventually become things that only get produced by people willing to do it for nothing… However, I’m pretty sure there will still be production one way or another because if there’s one thing that will stop file sharing dead in its tracks, it’s if there’s nothing being produced to share….
Wednesday, April 29, 2009
I’ve had a pretty disrupted couple of weeks, with the Easter long weekend and Lisa’s trip to Krakow meaning I didn’t have that many working days – Plus, a couple of short notice deadlines suddenly appeared meaning I had to do some newsletters for Pinnacle, an illustration for a company hiring nannys and a couple of reviews (although the reviews do mean I’ve now been able to play with up to date copies of Lightwave and Softimage!).
Anyway, having decided that fine editing is best done in half day stints because it’s so demanding, I’ve made some pretty good progress with the Vegas documentary…
Which I may be going to call “Bugdig”, “the search for Bristolia Insolens” or “the best way to dig a hole”… hmm… not sure.
However, I’ve now got it to the stage where the first half is now in manageable, playable segments. Each of the stories involved has been laid down and sliced into 1-2 minute scenes.
What I have to do now is assemble these into an overall story that makes sense. Which should be fairly simple. I’m not sure if having scenes of 1-2 minutes is going to work or whether they’ll feel too bitty, but we’ll see.
The second half of the documentary is more a single strand so I’ll be able to edit in a more linear way.
Either way, I can see it beginning to take shape now, so I’m a bit more positive about it. I’ve written and recorded the script for the second half, and now need to start building the shots around it.
Overall, it’s looking good – running a bit over time, but only because I’ve included a lot of material I can cut out later. It’s better to have more than you need rather than less….
Withoutabox
I’ve just signed up to withoutabox and I’ve discovered how easy it is to use. I’m launching my latest (finished) project (how to colonise the stars) at a few festivals – just to see how I get on and how difficult it is.
Early results seem to suggest it’s rather easy with all the hard work being done by the website. All I have to do is make some DVDs and put them in the post – which even I should be able to do.
I’ve given myself a budget of a couple of hundred pounds to spend on entry fees, and applied to about 10 festivals all in all (in a bit of a rush because for some reason I don’t understand, all the deadlines seem to be may 1st).
Anyway, this has really pointed up just how little I know about the whole documentary selling business. What are good and bad festivals? What happens at festivals anyway? who goes? Should I go if my film is chosen? What kind of films appear? I’ve got this feeling that my project is a bit too traditionally made and not arty enough– but again, I really don’t know.
All this stuff I’m reading about pitching meetings and getting industry people to attend your showings – I really don’t know anything about it. The top five documentary commissioners (if that’s even a job title, which I’ve no idea) in the world could walk right past me and I wouldn’t recognise them or know their names – should I? should I have a list of them in my top pocket along with a pile of ideas to throw at them if I ever bump into them at the groucho club (ha! I know what the groucho club is at least)?
Do I need to turn myself into some kind of frantic, coked-up cross between a film nerd and a used car salesman just to get… to get… umm…
And there’s the rub.
What exactly do I want to get out of the documentary business? Sure, I’ve got this great idea for a documentary I want to make – but nothing’s stopping me making it apart from time… and sure, I’ve got a few series I’d love to get off the ground if a broadcater came up to me and offered me a slot – but that’s not going to happen without immersing myself entirely in an industry I think is a bit… well, crappy…
Hmm.. I guess what this whole festival submission thing is about is just seeing where it takes me. When I finish my current project – the trilobite digging one, I’ll want to put it into some festivals because that will be one way the guy funding it will be able to see it’s a successful project.
When I do the feature documentary I’ve got in mind, festivals will be crucial – I’ll be shooting high and looking for cinematic release, but that’s a way off yet – and I need to insure myself all the way along the line so that if at any point it doesn’t hit the mark, I haven’t wasted a lot of time on it with no return at all.
And there are ways of doing that – ensuring that the research phase, the filming, the editing all pay for themselves as parts of other projects… but I’ll take you through that as it happens…
Right now, I’ve made a small foray into the festival world just to see what’s out there….
Anyway, having decided that fine editing is best done in half day stints because it’s so demanding, I’ve made some pretty good progress with the Vegas documentary…
Which I may be going to call “Bugdig”, “the search for Bristolia Insolens” or “the best way to dig a hole”… hmm… not sure.
However, I’ve now got it to the stage where the first half is now in manageable, playable segments. Each of the stories involved has been laid down and sliced into 1-2 minute scenes.
What I have to do now is assemble these into an overall story that makes sense. Which should be fairly simple. I’m not sure if having scenes of 1-2 minutes is going to work or whether they’ll feel too bitty, but we’ll see.
The second half of the documentary is more a single strand so I’ll be able to edit in a more linear way.
Either way, I can see it beginning to take shape now, so I’m a bit more positive about it. I’ve written and recorded the script for the second half, and now need to start building the shots around it.
Overall, it’s looking good – running a bit over time, but only because I’ve included a lot of material I can cut out later. It’s better to have more than you need rather than less….
Withoutabox
I’ve just signed up to withoutabox and I’ve discovered how easy it is to use. I’m launching my latest (finished) project (how to colonise the stars) at a few festivals – just to see how I get on and how difficult it is.
Early results seem to suggest it’s rather easy with all the hard work being done by the website. All I have to do is make some DVDs and put them in the post – which even I should be able to do.
I’ve given myself a budget of a couple of hundred pounds to spend on entry fees, and applied to about 10 festivals all in all (in a bit of a rush because for some reason I don’t understand, all the deadlines seem to be may 1st).
Anyway, this has really pointed up just how little I know about the whole documentary selling business. What are good and bad festivals? What happens at festivals anyway? who goes? Should I go if my film is chosen? What kind of films appear? I’ve got this feeling that my project is a bit too traditionally made and not arty enough– but again, I really don’t know.
All this stuff I’m reading about pitching meetings and getting industry people to attend your showings – I really don’t know anything about it. The top five documentary commissioners (if that’s even a job title, which I’ve no idea) in the world could walk right past me and I wouldn’t recognise them or know their names – should I? should I have a list of them in my top pocket along with a pile of ideas to throw at them if I ever bump into them at the groucho club (ha! I know what the groucho club is at least)?
Do I need to turn myself into some kind of frantic, coked-up cross between a film nerd and a used car salesman just to get… to get… umm…
And there’s the rub.
What exactly do I want to get out of the documentary business? Sure, I’ve got this great idea for a documentary I want to make – but nothing’s stopping me making it apart from time… and sure, I’ve got a few series I’d love to get off the ground if a broadcater came up to me and offered me a slot – but that’s not going to happen without immersing myself entirely in an industry I think is a bit… well, crappy…
Hmm.. I guess what this whole festival submission thing is about is just seeing where it takes me. When I finish my current project – the trilobite digging one, I’ll want to put it into some festivals because that will be one way the guy funding it will be able to see it’s a successful project.
When I do the feature documentary I’ve got in mind, festivals will be crucial – I’ll be shooting high and looking for cinematic release, but that’s a way off yet – and I need to insure myself all the way along the line so that if at any point it doesn’t hit the mark, I haven’t wasted a lot of time on it with no return at all.
And there are ways of doing that – ensuring that the research phase, the filming, the editing all pay for themselves as parts of other projects… but I’ll take you through that as it happens…
Right now, I’ve made a small foray into the festival world just to see what’s out there….
Friday, April 24, 2009
I’ve had a pretty disrupted couple of weeks, with the Easter long weekend and Lisa’s trip to Krakow meaning I didn’t have that many working days – Plus, a couple of short notice deadlines suddenly appeared meaning I had to do some newsletters for Pinnacle, an illustration for a company hiring nannys and a couple of reviews (although the reviews do mean I’ve now been able to play with up to date copies of Lightwave and Softimage!).
Anyway, having decided that fine editing is best done in half day stints because it’s so demanding, I’ve made some pretty good progress with the Vegas documentary…
Which I may be going to call “Bugdig”, “the search for Bristolia Insolens” or “the best way to dig a hole”… hmm… not sure.
However, I’ve now got it to the stage where the first half is now in manageable, playable segments. Each of the stories involved has been laid down and sliced into 1-2 minute scenes.
What I have to do now is assemble these into an overall story that makes sense. Which should be fairly simple. I’m not sure if having scenes of 1-2 minutes is going to work or whether they’ll feel too bitty, but we’ll see.
The second half of the documentary is more a single strand so I’ll be able to edit in a more linear way.
Either way, I can see it beginning to take shape now, so I’m a bit more positive about it.
Withoutabox
I’ve just signed up to withoutabox and when I’ve got time, I’m planning to launch my latest (finished) project (how to colonise the stars) at a few festivals – just to see how I get on and how difficult it is.
Early results seem to suggest it’s rather easy with all the hard work being done by the website. All I have to do is make some DVDs and put them in the post – which even I should be able to do.
I’ve applied for a couple of free festivals already and I’ve been invited to submit to one in Paris, so we’ll see how that goes.
Anyway, having decided that fine editing is best done in half day stints because it’s so demanding, I’ve made some pretty good progress with the Vegas documentary…
Which I may be going to call “Bugdig”, “the search for Bristolia Insolens” or “the best way to dig a hole”… hmm… not sure.
However, I’ve now got it to the stage where the first half is now in manageable, playable segments. Each of the stories involved has been laid down and sliced into 1-2 minute scenes.
What I have to do now is assemble these into an overall story that makes sense. Which should be fairly simple. I’m not sure if having scenes of 1-2 minutes is going to work or whether they’ll feel too bitty, but we’ll see.
The second half of the documentary is more a single strand so I’ll be able to edit in a more linear way.
Either way, I can see it beginning to take shape now, so I’m a bit more positive about it.
Withoutabox
I’ve just signed up to withoutabox and when I’ve got time, I’m planning to launch my latest (finished) project (how to colonise the stars) at a few festivals – just to see how I get on and how difficult it is.
Early results seem to suggest it’s rather easy with all the hard work being done by the website. All I have to do is make some DVDs and put them in the post – which even I should be able to do.
I’ve applied for a couple of free festivals already and I’ve been invited to submit to one in Paris, so we’ll see how that goes.
Friday, April 3, 2009
This week I’ve been writing articles – a new 3d artists magazine has appeared which is great news because it looks like good regular work – and fairly flexible.
I’ve also been doing another feature for a magazine aimed at school children and focuses on general science issues – which is also good news because means there’s potential to partially fund the research of some of my documentary ideas by writing features about the same subjects. That means I can justify spending more time on them… which has to be good.
I’m almost there with the boat safety video – although the last few bits are taking a long time…
Aside from that, I still haven’t got the edit done for the debut of my latest documentary project at 10x10 next week. And there’s a problem.
Because the safety video and the documentary are on different disks, I’m having to swap every time I swap projects. Now, Premiere ought to be able to take this on board, but it can’t – each time I swap, I have to re-locate all the footage files before premiere will load. And that’s a pain.
Worse still, when I tried to switch back to the documentary this time, it wasn’t having any of it – it keeps asking me where all the files are, then when I locate them, it crashes.
I do hope I can solve this because there’s a couple of months of editing work in those files!
I’ve also been doing another feature for a magazine aimed at school children and focuses on general science issues – which is also good news because means there’s potential to partially fund the research of some of my documentary ideas by writing features about the same subjects. That means I can justify spending more time on them… which has to be good.
I’m almost there with the boat safety video – although the last few bits are taking a long time…
Aside from that, I still haven’t got the edit done for the debut of my latest documentary project at 10x10 next week. And there’s a problem.
Because the safety video and the documentary are on different disks, I’m having to swap every time I swap projects. Now, Premiere ought to be able to take this on board, but it can’t – each time I swap, I have to re-locate all the footage files before premiere will load. And that’s a pain.
Worse still, when I tried to switch back to the documentary this time, it wasn’t having any of it – it keeps asking me where all the files are, then when I locate them, it crashes.
I do hope I can solve this because there’s a couple of months of editing work in those files!
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