Bret Williams
Forum Replies Created
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Way more complicated than necessary for this. You don’t need to even enter the world of 3D. What the OP is trying to do is a basic corner pin. No tracking needed unless the shot is moving.
For me, if it’s locked, I’d make a rectangle behind the text in the same group that is the height and a little wider than the door and line it up with the left edge of the door. Then I’d corner pin the group so that the rectangle fits the door. The text will distort along with the rectangle. Then just turn off the door. Same could be accomplished with a grid. And you could probably just eyeball the corner pin without the rectangle if you understand just the basics of perspective.
A more appropriate tutorial…
https://www.rippletraining.com/free-videos/learn-how-to-replace-a-sign-in-motion-5/ -
$349/$399 is a good deal for a product like this especially if you compare it to the competition. But I still question the validity of selling gold versions et al that will be dinosaurs in a couple years. People don’t generally buy high end jewelry and expect it to lose value. My only theory is that selling a few of the gold ones is an attempt to position the $349 model as an affordable way to buy a little piece of what is essentially the same as the $15000 model. Kinda like if Ferrari sold a $100k car that was gold with gold wheels and trim, but you could buy essentially the same car for $20k if you were willing to settle for white or black and basic chrome trim and wheels.
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Just as with legacy, hold down cmd to limit the sensitivity.
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Not that Jeff’s ideas aren’t legit, but Final Cut Pro X added it’s own drop shadow effect some 2.5 years ago. It’s called basic drop shadow and it’s in effects.
Freeze frame was also added about 2 years ago. Hold still works, but is really a different beast meant for retiming clips. Freeze frame is under the edit menu if I remember correctly. You can connect a freeze frame from the sequence or the event. It works similarly to legacy.
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New tech enables one to do things cheaper and faster and rates effectively go down as competition sets in.
We can now do immensely more in the same time than 25 years ago. Say for example 25 years ago the going rate was $300/hr just for a nice A/B roll Sony BetaSP with DVE linear suite. We don’t get $900/hr just because we can work faster now. More like $100/hr for something that is ten fold faster and better.
BUT in the short run, I can see it happening on flat rate projects of course. If the going rate for a commercial is $9000, and you can now do three of them in the same amount of time, then yeah, you could triple your income.
Over the long run, competition will win out and commercials will lower to $3000 and those that can’t
compete become dinosaurs. Like the million dollar suites charging $300/hr. -
Why would anyone’s earnings triple? I guess if all your work is flat rated, but don’t most get paid hourly,daily or salary? A faster tool just means more work gets done.
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Gaps. You could also copy, then ripple delete key, then paste insert. In any app it’s going to require a bit of surgery unless you just happen to have the perfect situation. For example in X, connected clips makes for a great little video clip. But it can also be part of the problem. Clips are always connected. Whether they have anything to do with what’s in the primary or not. So you only have the choice to move connected clips or hold tilde and ignore connections. But what if I want the broll to come with, but not the sfx and graphics? The sfx and graphics might be then end of a section segueing into the next section. But the VO and broll might need to be rearranged together. This happens every day to me in corporate stuff. So you’re back to the old school days of selecting just the parts you want to move and doing a copy paste insert dance.
But, as Robyn pointed out, in either case I’d say the best part of the magnetic timeline is the elimination of clip collisions. For me, doing a lot of layering, it’s more important vertically. I can move layers up and down without inserting tracks or worrying about accidentally deleting or eroding part of, a clip.
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Attemp to save face thwarted. Must resist urge to delete original post… 🙂
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You’re right I think. Bad memory. That cool little function in 7 only works in T mode with single clips. So a single clip swap. I could’ve sworn I’ve done it with entire sections at a time. But doesn’t seem to work in 7. My bad.
However it certainly isn’t as hard as that video made it out to be. A simple copy and paste insert would’ve been a better start.
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Do I have to be the one who makes the video showing the correct way to actually swap shots in FCP 7? Yeah it’s a little easier in X, but there is a swap command. Just marquee the clips, hold option if I remember right, and drag to the new location and the two will swap. It’s a little magnetic timeline-like function that’s been there since 1999.
All the same issues with your music going out of sync will still apply in both apps.