Bret Williams
Forum Replies Created
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You’ve never animated a single word of text? You’ve never imported a graphic? You’ve never exported to a codec or format? This is beyond the scope of a thread post. You should probably take some FCP 101 training that focuses on text or motion graphics. But yes that all there is to it basically. But what is your client giving you? Illustrator files? PSD files? JPGs? All stuff to consider and possibly other apps to acquire and utilize.
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You’re asking how to do motion graphics? Just Keyframe each element you want to move. Optimally in Motion, but if this is the bar you have to achieve FCP X is fine.
You’ll need flip 4 Mac pro to encode WMV files. The studio or pro version. That’s the most difficult part of this operation.
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I do it everyday with PNGs and Photoshop CS5. Could it be a CC2014 issue? I used to have CC and never had the problem.
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Sure HDV is quite compressed from the get go, but it shouldn’t really look soft at 100%. You playing back better quality or better performance setting? Proxies? Why are you exporting PhotoJpeg?
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Like I said, anamorphic isn’t a term used for HD footage. And when you do actual anamorphic, the pixels aren’t “compressed”. They’re squeezed into a smaller amount of horizontal pixels. There’s no magically getting that definition back. The pixels are intact being stretched horizontally to fill the frame. Whether the software does it in the background or you do it by scaling the footage on you X axis. But the FILL function in spatial conform will work for you perfectly in this regard as it seems for some reason X isn’t interpreting your 1440×1080 footage as 16:9. There are many flavors of 16:9 HD. Just because a pixel isn’t square 1:1 ratio doesn’t mean it’s anamorphic. Regular 720×480 SD video wasn’t square either. Consider it semantics if you want, but for example in FCP legacy you WOULD NOT check the anamorphic check box for 1440×1080 media. FCP 7 recognized it as HDV 16:9 media natively. Same goes for an HDV sequence. If you draw a square or a wipe, the app makes the adjustment in the background.
Can you take a look at your sequence settings (cmd+J then click modify settings in the inspector). Should be 1920×1080. And a look at your media settings in the inspector too. Could be X doesn’t recognize PAL HDV media correctly, in which case applying the “fill” spatial interpolation forces it to do what it should in this case. If it were not 16:9 media, it would be stretching it out of correct proportion.
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There are no anamorphic HD profiles. That’s there are different formats, flavors, and pixel ratios but they are all interpreted as 16:9. You don’t ever check the anamorphic box on HD footage or an HD sequence. You should be working in either a 1920×1080 sequence or a 1280×720 sequence. The NLE recognizes that regardless of the pixel dimensions whether it be 1440×1080 HDV or 1280×1920 DVCProHD or even 960×720 DVCProHD that they are all 16:9 formats and treats them as such by applying the correct distortion and scale in its interpolation of the footage. They all fill the frame in a 1920×1080 sequence. If your HDV isn’t filling the frame you’ll need to play with the spatial controls in the inspector. Should be set to fit.
Simply export from that sequence as 1080p and you’ll have a 1080p export with no bars.
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Latest X and Resolve? I think they’re very tied to versions.
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DV doesn’t have to be progressive. We rendered out progressive DV all the time. DV TAPE must be interlaced, but when written to tape in fields you simply got two fields of the same action. PSF I guess.
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Export from FCP X as ProRes 422. Going to compressor for this function wasn’t necessary.
I do this all the time. Edit a little sequence or even just pick a shot like you have, mark in/out, and cmd+E the bit and then open it in Motion and do whatever. Render out as 422 and drop it into FCP X.
If you need to adjust it in Motion again, just close FCP X, open Motion and rerender right over the previous, and then open X. As long as it’s the same codec/duration/and format it won’t skip a beat.
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You could try the Logmar
https://www.wired.com/2014/07/logmar-super-8/