Andy Neil
Forum Replies Created
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Try this. Stack all four layers of clips. Select the first set of connected clips and make a compound clip (OPT+G). Do the same with the 2nd set of connected clips and the 3rd. What you’ll end up with is one primary storyline, and 3 compound clips connected to it. Open the compound clips and apply the static transition to the cuts. Back out to your project and resize the compounds so that they all fit on the screen at the same time.
Andy
https://www.timesavertutorials.com
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[Simon Ubsdell] “It appears that layered TIFFs imported into FCPX get flattened (no layers come through) just as with PSDs – unless I’m missing something.”
I read Andreas’ post to mean that with layered TIFFs you can easily go back into photoshop and make changes like you would with a PSD, but get better overall compatibility in FCPX. There is currently no image format that translates to layers inside FCPX.
Andy
https://www.timesavertutorials.com
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standard def is a much lower resolution than HD. On top of this, standard def uses rectangle pixels as opposed to the square pixels of HD. It will not look as good in a standard def sequence.
Andy
https://www.timesavertutorials.com
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I’ll go ahead and confirm that for you. Gradient Stage 11 still exists in Motion 5.
Andy
https://www.timesavertutorials.com
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[Robin Moran] “It seems redundant and a waste of HDD space to copy all those files into the Events folder.”
Redundancy in post-production with regards to tapeless formats is NEVER a bad thing.
Mostly I’ve cut short-form work in FCPX, but I almost always use the “copy to events folder” function. At least when I’m using new footage or clips from my library.
Keeping all the event media in one place is the Avid method of which I’m fond. Also, it makes portability easier.
However, when working with footage from previous FCP projects, I tend not to copy but keep footage in it’s manually organized folders.
Andy
https://www.timesavertutorials.com
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I haven’t myself noticed any particular issue or preference with certain file types. I use png and tiff a lot for hi-rez photos, but jpgs as well without incident.
Andy
https://www.timesavertutorials.com
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Well, Motion’s never been able to do all the things AE can, that’s true. But you can make adjustments to individual channels in Motion with the Channel Mixer, and Levels filters found in the Color Correction menu. And there is a channel blur which allows you to blur specific channels as well.
Motion 4 even had a channel swap filter. Motion 5 got rid of that, but perhaps that is because the same thing can be accomplished with the channel mixer.
Andy
https://www.timesavertutorials.com
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[Simon Ubsdell] ” There really should be some way in Motion of splitting out the individual RGBA channels, performing operations on them individually and then recombining them – this is compositing 101″
Can you give me an example of this? Something that you would do in AE so I can be sure I understand? I might not understand the limitation you’re describing.
Andy
https://www.timesavertutorials.com
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[Simon Ubsdell]“It’s a disgrace that a supposed compositing app like Motion has no way of getting at the channel information in any meaningful way.”
What do you mean? You can easily get to and manipulate the alpha info in Motion. Just select the layer and hit SHIFT+F to bring up the Media tab in the inspector. There you can set alpha interpretation or even invert the alpha channel.
For the OP, you can also do this in FCPX. Select your image in the event browser. Go to the inspector and click the info tab. At the bottom, choose Settings View. Change the Alpha Handling to None.
Andy
https://www.timesavertutorials.com
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[Robert Brown] “And since here at Fox were 720P we don’t have to deal with all of that anymore.”
I hear that. I personally want interlaced video to die a slow, agonizing death.
Oh wait, it already is. Maybe it could go a little faster?
Andy
https://www.timesavertutorials.com