[Andy Neil]

[Shawn Malone] “So is it the labelling of the non-continuous clips that enables them to be synced to the other continuous angle clip as one angle?”

Yes.

[Shawn Malone] “Also allowing those non-continuous clips to be synced with the appropriate gaps?
“

No. That happens with your sync method, ie: Timecode (if your cameras are jammed), or audio synchronization (if all the cameras are recording audio.

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Andy Neil]

Yes, you can do this fairly easily. Before making your multiclip, select all your non-continuous clips in the browser and open the inspector. In the info section ( the ‘i’ icon) type CAM A under camera angle. If you don’t see a camera angle box, go to the bottom left corner of the inspector, click the button and choose basic.

Once you’ve named all your clips with the CAM A angle (or whatever you want to call it, just make them the same). Select all your clips, including your continuous one to make your multiclip. In the multiclip dialog box, choose Camera Angle for Angle Assembly. This tells FCPX to put all clips that are labeled the same, into the same angle track.

This is basically the same thing Jeff said, just with a tad more step by step in case you need it.

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Andy Neil]

Start with a font you like and then use the bezier tool to create the tubing by tracing the font and keeping a solid line going.

It’s been a long time, but I did a neon test years ago, and IIRC I used a clone or two of my shape on top of each other with additive blend on to get the color with a “hot spot”. Then I used a wriggle behavior on the opacity with high smoothness for that subtle light flicker. The light on the bricks can be done with colored point or spot lighting with the same wriggle applied.

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Andy Neil]

[Simon Ubsdell] “I’m not sure how you could get it to work with behaviors only (as against some keyframing) but I haven’t given it that much thought. What was your theory on how that would work?
“

Not so much a theory as I used to always try animating with behaviors first because I thought the simulations were nicer than what I could do with keyframing.

I’m not sure what I’d try, but it’d probably be spinning the replicator on it’s axis with a combination of the Ramp and overshoot behaviors.

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Andy Neil]

This is a fascinating thread. But the whole time I was thinking that if I was doing it, I’d use a 3D replicator and build the images in a wheel like the old analog slot machines worked. Then you have a set number of images that spin around and can use parameter behaviors to animate the replicator. Admittedly, the loop animation idea is probably easier.

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Andy Neil]

A new inspector window, eh? Where’d they come up with that?

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Andy Neil]

I agree with Craig that it might be difficult for you to proceed until you’ve discovered how different, yet intuitive and powerful the FCPX workflow can be. Ripple training or Lynda.com tutorials will help. To address some of what you’re talking about though…

1) There aren’t tracks in FCPX. Clips are connected via a Storyline and clip relationships are based on other clips rather than specific tracks. IMO, this makes FCPX a much better workflow for doc style work. An example: You have an interview clip talking about Pearl Harbor. Sometimes, he’s on camera, sometimes you’re covering his bite with footage from the attack. Broll clips (footage from the attack) connect to the storyline clips (interview). From the perspective of watching the cut, it’s the same as having your intv on track 1 and your broll on track 2. But if you decide to move the bite forward or backwards in the story, all the connected clips go along for the ride, without having to create add edits, open up the timeline, parse the items that belong with the intv and open another hole where you want to place the section. This makes FCPX very powerful when doing structural edits, late in the game.

Also, not having tracks has the side effect of speeding up workflow.

2) OMF/AAF export can be accomplished with a plug in. If it’s a necessary part of your workflow, then it’s a necessary purchase. But considering FCPX is a one-time purchase of $300, it still puts it much cheaper than its competitors over the course of an edit. Also, you can export FCPXML format to Resolve for color.

3) FCPXs organizational structure is stronger than bins. Keyword collections, smart collections, favorites, folders, events, and libraries are all different levels of organization. The closest analogy to bins in FCPX is actually keyword collections where you can store clips or parts of clips very easily. You can even add clips to collections at the injest stage. There are a lot of different ways to organize your clips which makes it better for long format IMO than bins.

But seriously, read up, watch up on at least the organizational capabilities. Hopefully, you’ll see just how powerful they are, and how useful they could be to your production.

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Andy Neil]

This can be achieved in a number of ways. One thing you can do is add a black solid below the logo and text, then apply the Draw Mask effect onto it. Draw the shape of your border however you want it and then adjust the opacity on the clip to get your transparency.

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Andy Neil]

[Michael Hancock] “[Oliver Peters] “4. Is there a way to break apart or “flatten” multicam clips?”

In FCPX? No. This is desperately needed.”

God yes. One of my biggest complaints. I do a lot of cuts where I have to affect the speed of the clip. Only you can’t utilize Optical Flow with a multiclip. So each time I need to make a speed change, I have to match frame to the multiclip, memorize the TC of the clip I want, find that original clip in the browser, type in the memorized TC, and replace edit or drop it above my multiclip before adjusting the speed just so I can use Optical Flow.

We need FLATTEN MULTICLIP and MULTI-LEVEL MATCHFRAME for FCPX.

Andy

https://plus.google.com/u/0/107277729326633563425/videos

[Andy Neil]

There are dozens upon dozens of ways to fly in/out a logo. It can be done simply by using scale and position keyframes inside FCPX, or you can build an animation in Motion or After Effects. It can blur and fly, twist and fly, build like sand coming together or smoke becoming solid. It’s hard unless you have an example of the kind of fly in you want to tell you how to get what you’re looking for.

However, there are some things you should take into consideration.

Animating in a compositing program like Motion or AE is going to yield better quality results than animating in FCPX.

Animating a vector graphic will yield sharper results than a bitmapped image.

Is your logo 3D? Do you need to build it in a 3D program like Maya, Blender, or Cinema 4D?

Keyframing in FCPX can be troublesome because position keyframes are defaulted to an Ease in/out but Scale keyframes default to linear.

Andy

https://plus.google.com/u/0/107277729326633563425/videos