Andy Neil
Forum Replies Created
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Really helpful website Mark. I hate dealing with Panatone colors.
Andy
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You may want to check out my tutorial on building 3D objects in Motion.
In it, I use a trick that helps keep the shapes aligned by using a replicator for 4 of the 6 walls. Also, edge intersection in Motion has gotten better, but you can cheat a bit by adding a small amount of outline to your squares.
Also, when you create your 1st square initially, hold down the SHIFT key to constrain the shape to a perfect square. You can also go into the geometry section of the shape and adjust the control point numbers to even numbers (provided the position for the shape is 0,0 in the properties tab). That will allow you to use math to line up the remaining 2 squares for your cube. I go into that a bit in the tutorial.
Andy
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The replicator trick will certainly work, although, if you’re replicating icons, you might rather just create an image sequence instead of bothering with an FCP sequence.
Another way to do it if there are only a few icons, would be to draw a circle shape, and rotate it 90 degrees on the X axis. Place it in a group and drop all the icons in the group with it. Make sure that the circle and icons are all at the 0 position inside the group.
Select all the icons (SHIFT+click) and in the properties tab, adjust the Z anchor point parameter until you have the icons at their “front and center” placement.
Then select each icon individually, and change its Y rotation to give it a different starting point in your “circle”. From there, all you need to do is drop a Spin behavior on the group.
That’s to show you that there’s more than one way to approach an effect, but personally, I don’t think it gets much simpler than using the replicator.
Andy
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Make sure you increase the length of the project so that the entire credit sequence can make it on screen.
Andy
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Create a loop point. Sometimes this is simple, other times more difficult. For abstract animations, the way you do it is this:
Create your animation, 10-30 seconds is typical for a standard loop.
Export animation and reimport into project.
Split the clip anywhere you like. Take the end half, and move it to the beginning. Take the beginning half and move it to the end, but make sure there is some overlap between the end of one clip and the start of the other.
Add a dissolve to hide the cut.
Export again. You now have a loopable L3 which you can simply edit end over end into your timeline.
andy
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As a general rule of thumb, I don’t render out to any long GOP codec. Loads of trouble. Definitely use ProRes if you can.
Andy
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Sure, use behaviors instead. Use a Move or Motion Path (if the movement is multi-directional) for the movement. Change the speed to ease both, and then trim the behavior to the point where you want a pause. At the end of the pause, add another behavior and continue on.
Andy
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If you have the opportunity to shoot progressive, then compositing and motion tracking will both benefit from that.
As for DVCProHD vs ProRes, since you’re keying out footage, it’s important to have the best possible codec you can handle for color. I would convert to ProRes HQ or 4×4. It won’t improve the color subsampling from the acquired footage, but if you have to manipulate it post capture, you’ll lose less in the process which should help the keying and compositing.
Andy
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The short answer is no. You can group all the layers in your project, and clone the group then apply a speed change to the clone, but I doubt that’s going to suffice.
You could also export the project, reimport and apply a timing behavior to the baked movie, but if you make changes, you have to re-export.
Andy
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I swear, Patrick is a witch. That’s one of those things where you hit yourself on the head and wonder, “Why didn’t I think of that?”
Andy