plenty of handle on outgoing clip…but dissolve is locked to one frame

[Walter Biscardi]

[Jason Brown] “Incoming clip, starting with first frame. Add a dissolve to cut and it only has a duration of 1 frame.”

You need handles on BOTH clips. So you will require at least 1/2 of handle at the beginning of this clip to make the dissolve.

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[Jason Brown]

Really? No “start at cut” type of dissolve setting? That seems like a problem? I guess usually you should have handles…but what if you don’t? Is the workaround to work in a downstream fashion like I did?

-Jason

[Steven Gladstone]

Just a thought, if you want double click on the fade/dissolve, and you can set it to be either a fade in, fade out, or dissolve. Changing from one to the other may do what you want.

The other thing I just discovered by activating the overlay mode, you can actually set node points to fade up or down a clip.

I’m still playing around with this.

Hope this helps.

Steven Gladstone
https://www.gladstonefilms.com

[Jason Brown]

Are you talking about the buttons at the top? That look like this= / /\ \

I thought was the orientation of the dissolve, start/centered/ending at cut? I’ve had no luck with those as well.

-Jason

[Steven Gladstone]

Yep those buttons.

What the responder was saying about the dissolve is right, there needs to be handles on both clips, otherwise it will just give you on frame, but if you double click the effect to get the dialog, you can slide and extend the dissolve.

I’m using non additive for dissolves, but checking out the nodes.

Steven Gladstone
https://www.gladstonefilms.com

[Walter Biscardi]

[Jason Brown] “Really? No “start at cut” type of dissolve setting?”

Yes, even on a “Start at Cut” edit, FCP will still want to see handles on the incoming clip. Pretty much all NLE’s work this way.

Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author.
Credits include multiple Emmy, Telly, Aurora and Peabody Awards.
Owner, Biscardi Creative Media featuring HD Post
Biscardi Creative Media

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[Thaxter Clavemarlton]

[walter biscardi] “Yes, even on a “Start at Cut” edit, FCP will still want to see handles on the incoming clip. Pretty much all NLE’s work this way. “

I’m not exactly sure what Walter is talking about, but it’s not about “Start at Cut” edits.
I have been making “Start at Cut” edits for years starting at the very first frame of an INCOMING captured clip on Avid and Final Cut Pro.

As long as the OUTGOING (first) clip has enough handle at the end, the editor (FCP) will begin and complete the dissolve even starting at the very first frame of the INCOMING (second) clip.

I just tried it again right before posting this to make sure.

Conversely, for “End at Cut” edits, even if you are at the last frame of the OUTGOING (first) clip, you can dissolve to another INCOMING (second) clip as long as that second has enough PRECEDING frames (handle) to overlap it back into and before the previous clip ends.

[Jason Brown]

I’ve only had experience with AVID Media Composer and now Final Cut and AVID absolutely DOESN’T need handles on an incoming clip with a dissolve that starts at cut. There’s no need for media…dissolve starts at frame 1 and media starts at frame 1.

-Jason

[Jason Brown]

I may be able to shed some light when I get into my work computer…I’m using a keyboard shortcut to add the dissolve and I’m not exactly sure what the key is calling for.

Let me look and I’ll post back…

I don’t know how to add a dissolve other than the way I setup on my keyboard. I don’t know how to add a dissolve (one step) that starts/ends/or is centered on cut.

-Jason

[David Roth weiss]

[Jason Brown] “I’ve only had experience with AVID Media Composer and now Final Cut and AVID absolutely DOESN’T need handles on an incoming clip with a dissolve that starts at cut. There’s no need for media…dissolve starts at frame 1 and media starts at frame 1. “

Jason,

Avid did not invent the transition. Transitions and many other aspects of non linear editing were designed to emulate film style editing, and in film style editing, if you don’t have the frames on both the outgoing and incoming negative, you’d be hosed when the negative was conformed. So, that’s where the procedure originates, and that’s why it exists. The fact that Avid decided to abandon the old method, or that FCP decided to keep it, is neither right or wrong for either system, it just is what it is, and you have to learn to adjust.

David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los Angeles

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