[Brendan Gibbons]

Nice tip, thanks.

There are a few not so obvious things about X aren’t there.

Cheers,

Brendan

[Brendan Gibbons]

[Ethan Young] “Oh, and the “Match Color” feature is completely useless, is this working for anyone? A cool concept if it can be refined.”

I find it works OK, but I just wish that the “match colour” function would put settings into the color board so that we are able to refine it to our own liking. Instead of us having to add a correction on top of that to tweak it.

It’s one of those demo features that has the “wow” factor. But I find you can’t beat the satisfaction of doing your own grade by “hand” though.

Oh and while we are there, being able to reset individual parameters in the color board would make a huge difference.

We are all earning our apple “beta badge” anyway 😉

Cheers,

Brendan

[Brendan Gibbons]

Yes this is a strange one….

It is well known that the composite modes of secondary storylines appearing over the top of the primary storyline do not work.

But as you mention, add a secondary storyline below the primary storyline and now change the composite mode on the primary storyline it works as expected.

But then you can’t composite that second storyline on top of another layer beneath that.

If the fixed the composite modes to work on all storylines I’m sure it would make a huge difference.

Cheers,

Brendan

[Brendan Gibbons]

Keeping it simple…a little bit of sharing by everyone helps us all.

No one person knows it all, no one person knows nothing…mix it all together and we can all pick up useful bits as we go along.

This is a great resource….keep sharing.

Cheers,

Brendan

[Brendan Gibbons]

One way to try, which I haven’t tested properly….

Select your long source clip, ctrl+click and select “open in timeline”

Now apply your color correction or any necessary tweaks.

I believe as soon as you do this it turns your source clip into a compound clip.

Perhaps making a duplicate of your source clip first so that you have a “non compound clip” version to fall back to.

Keyword away.

Cheers,

Brendan

[Brendan Gibbons]

whoops, didn’t check before I posted…

Yes, what chris said.

And I left out the crucial detail of having your foreground element on the primary storyline.

Cheers,

Brendan

[Brendan Gibbons]

This exact same thing messed with my grey matter for a bit as well.

What “seems to work” is the following

Set up your layers as you did. I’m going to refer to the “tracks” as V1, v2 etc, it’s what my brain is happy with at the moment 😉

“v3” foreground
“v2” alpha / luma transition
“v1” background

In fcp 7 days as you pointed out you would make the top layer “travel matte luma / alpa” etc and it would use the properties of the clip beneath it to perform the composite mode.

Instead set the composite on your transition layer to Stencil alpha / or luma depending on what type of clip it is.

Now this is where it gets funky,

Set the composite mode of the top layer to “Back”

Now you should get the desired result…..

Yeah it’s odd I know !

Hope that works for you though.

Cheers,

Brendan

[Brendan Gibbons]

Yes you are right… To emulate a fcp 7 task of creating a new sequence in X, simply create a new compound clip in the events browser, open it in timeline and edit into it.

If you have a look back over the past 2 weeks on here you will find some really helpful discussions on the way people are using compound clips, and the pros and cons of it.

Cheers,

Brendan

[Brendan Gibbons]

No, you are not missing a step…By using the shape mask inside the color parameter of the video inspector, as you have gathered, only allows you to control the color correction that you apply in the color board.

You can try duplicating you clip in timeline, and stack it on top.

Apply the effect called “mask” from the keying category to the top layer.

Adjust the bottom clip by maybe adding a blur filter and darkening the color if required.

Now by going back to your top layer, you can adjust the “mask” effect, by adjusting the “roundness” and “feather” parameters to taste.

Remember if you drag a slider (eg roundness) all the way to what appears the maximum value, you can always go way further by dragging right on the numerical value to increase further.

Cheers,

Brendan

[Brendan Gibbons]

Was just having a play around with multiple layers with transitions in secondary storylines and all “appeared to work” ok. It doesn’t help you I know 😉

For sure compositing modes are ignored with secondary storylines. Whether that’s an intended “feature” or not, I personally would like to see compositing modes recognised in secondary storylines.

What I have here below in the screenshot is a number of stock items from motion, PNG’s with alphas, and I have layered them up over a blue solid background. Also I have a text effect running the entire length as a bug.

Is this the sort of thing you were trying and it was not working, or were you using video with alpha channels?

Please ignore the cheesy comp of layers in the screenshot….not my best work….

Cheers,

Brendan