[Andy Neil]

Ok. I see now. I think it would be a decent idea, but I can see why they don’t have it implemented as a feature. Since you can use a Motion project inside FCPX without needing Motion, a “pick and choose” consolidation of assets would lead to a lot of offline FCPX custom effects probably.

As far as workarounds:

If you collect everything, then any machine with either Motion or FCPX would be able to properly play the project. Motion library assets are not that large to begin with, so I don’t really see the need to not collect them all outside of a desire not to duplicate media over the course of several projects. But if you absolutely don’t want to have duplicated Library material…

You can manually collect your material by creating a project folder for your project (the same way that Motion does when you choose to “collect”) and store your created media there. Then don’t do a collection at the end, and just copy the project and the folder over to other machines. Because you didn’t do a collection, then the library material will still point to the library pathway, and the other machine will have the created material in an easy to access folder. It’ll probably be offline, unless your machines have machine hard drive names, but it’ll relink easy.

But I guess this is to say there isn’t an “easy” work around. Just what’s possible.

Andy

https://www.timesavertutorials.com

[Andy Neil]

[Stephen Smith] “After Effects is a 64 bit program (And has been for a very long time) and it still will let you export out the Animation codec.”

Look, I’m not an engineer or software coder, but Animation is a 32-bit codec. So for AE to be able to export in Animation, there has to be some 32bit code in there somewhere. Maybe AE is advertised as 64 bit because the interface runs in 64bit, but when I talked to the engineers who built Compressor, they said basically that 32bit code was necessary for 32bit codec support. Motion removed all 32bit support, hence the reason they don’t support older codecs like Animation.

At least that was my understanding of it.

Andy

https://www.timesavertutorials.com

[Andy Neil]

[Stephen Smith] “I was under the imprison that was due to Apple wanting you to use Compressor.”

Actually, I think the reason for it was that they were getting rid of 32-bit support and making it a purely 64-bit app. Most of those older codecs are 32-bit only which is why Compressor has remained a 32-bit app (for compatibility).

In my opinion, if AE isn’t supporting alpha in ProRes4444, then that’s on Adobe. ProRes isn’t a new codec, it’s been around for years and is a topline codec for editing and gfx.

For the OP, I’d suggest outputting from Motion using the Send to Compressor function. Then use an Animation codec setting in Compressor.

It’s also possible that your ProRes problem on your PC is related to you not having the ProRes codec installed on your system. It’s decode only on PC, but that would mean that AE could read it and you can export from AE in whatever codec you want.

Andy

https://www.timesavertutorials.com

[Andy Neil]

[Alex Udell] “and perform a collect on a project with some disconnected assets….”

Can you explain with an example what you mean by this? I’m not sure I get what you’re saying.

Andy

https://www.timesavertutorials.com

[Andy Neil]

It’s possible. Open the keyframe editor (CMD+8). Go to the parameter for the layer you want to adjust (ie: Layer 1’s opacity) and click the animation menu. Choose: show in keyframe editor. Do this for the parameters of the other layers you want to adjust. Make your keyframe adjustments. Select all these keyframes and copy (CMD+C) and then move to the next place in your project that you want to apply these keyframes and paste (CMD+V). Hope this makes sense.

Andy

https://www.timesavertutorials.com

[Andy Neil]

There’s no way to keyframe checkboxes. You’re better off keyframing the masks position.

Andy

[Andy Neil]

Strange. I have a Kona LHi and haven’t had any issues. Can you explain a little more about your project/setup? Have you made sure you’ve downloaded and installed the most recent Kona driver?

Andy

https://www.timesavertutorials.com

[Andy Neil]

[Bret Williams] “When I moved from Media100 to Avid years ago, I tried to map my Media100 shortcuts in some meaningful way.”

Same for me. I always filled up my shift shortcuts on the Avid so quickly because you couldn’t (can’t) map to the other modifier keys. 15 years later you can do practically every fx in real time, mix different formats and frame rates in the same sequence, but I STILL can’t map anything to the OPTION keys.

Andy

https://www.timesavertutorials.com

[Andy Neil]

Do you have Motion, because this can be fixed in Motion. What you basically need here is a gradient blur. The way it works is you set a blur amount, like 2 or 3 (to get rid of the moire). Then you use two control points to set the starting point of the blur and the end point (where there is no blur). This way, you get a gradient effect where elements in the background are blurred more and elements in the foreground are blurred less. Does that make sense? Basically, you’d be able to get away with a much higher blur in the upper third of the lake where the moire is worst but the foreground elements would remain in focus.

If you know your way around Motion, you’d probably even be able to create the gradient blur as a FCPX effect to apply inside FCPX.

Andy

https://www.timesavertutorials.com

[Andy Neil]

You can upload video files directly in the reply box for this thread. It’s the icon that looks like a film projector, just to the left of the file upload button (floppy icon) when you hit reply to a thread. Just upload it there if you want us to take a look.

But if .5 blur won’t do it, you have three choices. Decide that it minimizes the moire enough and leave it, add more blur and live with the softening to your shot, or create a mask for the moire’d element and blur only that (but realize that it’ll start to stand out by the amount of blur if you get too crazy with it.

Andy

https://www.timesavertutorials.com