Andy Neil
Forum Replies Created
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If you got a gray bar above your clips, then yes, your clips WERE connected clips. I don’t mean that they were connected to each other, but that they were the type of clip known as a connected clip. This means any clip that is positioned above the primary storyline. Does this make sense?
If you want to avoid transitions appearing at the end of your connected clips as well as between shots, your best option is to select the clips you want to apply a transition to, and enclose them in a secondary storyline FIRST, before applying the transition.
Andy
https://www.timesavertutorials.com
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Sounds like you’re describing a secondary storyline. You can’t apply a transition on straight connected clips, so when you try, FCPX will automatically gather the clips involved in the transition into a secondary storyline (which is indicated by a grey bar above that “contains” the clips). The secondary storyline is still a connected clip, but you must now move both clips together because you’ve attached a transition between them. You can move them above or below other connected clips by grabbing the gray bar and sliding left, right, up, or down.
If you delete the transition, the clips remain inside the secondary storyline until you pull them out. You can do this by selecting the clips inside the storyline and hitting CMD+OPT+up arrow and then deleting the now empty secondary storyline.
Andy
https://www.timesavertutorials.com
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Ok, I think I know what your problem is. I noticed the issue when I brought the footage into After Effects and interpreted the alpha as “straight” instead of “pre-multiplied” (which is the default output in Motion).
If you can interpret footage in Premiere (like you can in AE), then be sure to interpret the alpha as pre-multiplied.
Otherwise, try exporting as ProRes 4×4, but uncheck the pre-multiply alpha checkbox in the render settings.
You just seem to be suffering from an intepretation problem is all.
Andy
https://www.timesavertutorials.com
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You’re not a moron, Tim. As I was writing a tutorial to explain advanced keyframing in Motion (thanks for the idea), I had to explain this exact situation you’re going through.
Because your keyframes are on separate layers, Motion doesn’t respect their absolute positions respective of each other. Instead, it takes the first keyframe of layer 1 and places it at the same point as the first keyframe of layer 2. If you look at the first keyframes you copied, there is an offset of frames between one layer and the other.
One way to fix that problem is to set a keyframe for both layers at the same point in time so their relative positions are preserved. Think of it like a placeholder at the beginning of your animation.
You can also deselect the layer with the correct timing so you only see the keyframes for the incorrect timing, select them and slide them over (holding shift to maintain their values).
Another possibility that you might like is to use the After Last Keyframe function which can endlessly repeat keyframes of layers after only building the animation once. I’m not sure if you need to copy this animation more than once but if you do, perhaps that’s the way to go.
Andy
https://www.timesavertutorials.com
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Can you upload the project sans media? Perhaps there’s something else going on. The only other thing I can think is that there’s something going on in premiere that’s the issue. I know that Avid has issues with ProRes 4×4, but I figured is better at handling alpha channels.
Andy
https://www.timesavertutorials.com
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Do you have any blend modes applied because that won’t translate outside of Motion. Also, it might still be possible that the lens flare is your issue. If you turn that layer off and export do you have the same result?
Andy
https://www.timesavertutorials.com
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[Tim Wilde] “Would the “Save an Animation Curve” feature allow me to save the selected layers and keyframes? “
Yes and No. You can save the group of parameters as a curve set and name it, but the only thing that’s being saved is the configuration of parameters. If you say, deleted the keyframes for a layer, you could not get them back by invoking the curve set.
[Tim Wilde] “Would saving this group as a Curve Set help speed up the process of selecting the layers and keyframes?”
Yes. This is especially true if you have other layers animated (that you don’t want to include in a copy/paste function) or you want to animate parameters that don’t usually show up in the keyframe editor. The great thing about curve sets is that you don’t have to select the layers you want to manipulate first. Just open the keyframe editor and select your curve set from the drop down. All the parameters that you keyframed will be gathered there, and you can just copy and paste at will.
Andy
https://www.timesavertutorials.com
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It would make a good tutorial, but I’ll try to help you out specifically here since it takes awhile to make a full tutorial and you’d probably like this resolved.
The method I described (which is different from the video David linked to), involves copying animation keyframes to properties later in a project which is what it sounds like you want.
[Tim Wilde] “I assumed that when you select Edit | Paste, the layer named “Fred” would have its opacity set to 100% at frame 1000, and at frame 1030 the “Fred” layer’s opacity would drop to 0%.”
This is exactly how it works. The only caveat is that from frame 40 to frame 1000, the opacity would slowly ramp back up to 100. If that’s not what you want, then you need to set a placeholder keyframe on frame 999.
Here’s an example that hopefully will help you. Here I have 3 shapes, each with a different animation. If you open the keyframe editor (cmd+8) and select all 3 layers in the layers pane, you should see all the animated keyframes for each layer like below.
If it doesn’t show, make sure that “animated” is chosen from the menu at the top left of the keyframe editor.
Lasso all the keyframes for all the layers and hit CMD+C to copy their values.
Move forward in the project. For the sake of this project, I want the same animation to happen at the 4 sec. mark. So, I’m going to place the playhead at 3:29 (one frame before 4:00). Since the keyframes are all still selected (and so also the parameters themselves), click any of the selected parameters keyframe buttons to set a placeholder keyframe on all the selected parameters at the same time.
Move forward one frame to 4:00, and hit CMD+V to paste the copied keyframes.
That’s all there is to it. I copied the animations of 3 separate layers and pasted them again later in the project timeline. If this is an animation that is going to be repeated often, you may prefer a secondary method which is used to create looping animations. I’ll explain that one if you need it.
Hope this helps.Andy
https://www.timesavertutorials.com
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I’m not at my computer bit IIRC you should be able to compound the two clips and then apply the transition in the compound and it won’t show what’s beneath it in the main primary. I don’t think you need a black generator at all.
As far as detaching audio is concerned, the only real issue is that it’s extremely easy to throw audio off sync from its video.
https://www.timesavertutorials.com
