[Adrian Makai]

I should clarify that the blown out highlights are only slightly blown out and that part of the scene looks fine to the naked eye when playing on the FCP timeline to a 40″ monitor. The color banding that results after exporting is MAJOR – large green/yellow smearing all over the highlighted areas.

[Adrian Makai]

Thanks again!

[Adrian Makai]

Thanks Jeremy.

What is the difference between 1080PA and 1080P as far as this application is concerned?

[Adrian Makai]

Did not find a faster way. I cut down on the number of scrolling frame effects in my cut, and otherwise did the ‘long way’ with keyframes and motion controls in FCP. I’m sure there is a faster way. And if not, someone should definitely invent a plug-in, as these types of effects are pretty common in TV work, documentaries, etc.

[Adrian Makai]

Thanks! That worked.

[Adrian Makai]

Thanks but that does not work. As mentioned, the clip already appears in the timeline as fully rendered (at 25% resolution).

Selecting the clip and choosing to render it (or using the keyboard shortcut of Option+R) does nothing. The clip stays “fully rendered” at the 25% resolution setting, even though I reset the sequence setting to 100% resolution.

[Adrian Makai]

Thanks! That was in fact the issue. Strange, since I had set the sequence to have the same settings but somehow it changed.

[Adrian Makai]

Thanks. DH Box looks like it can help make things a bit more efficient. The FX Plug-ins are more for transitions.

I guess the FCP architecture itself does not lend itself to “one-click” implementation of common ‘scrolling and pushing’ split screen effects, that are used in documentaries and commercials. Using the motion controls, key frames, opacity settings with multiple video tracks (or using Apple Motion) seems to be the workflow.

Maybe one day someone will come up with a workaround that makes such editing tricks as easy to implement as a blur filter.

[Adrian Makai]

Thanks. I’ll check it out.