Bret Williams
Forum Replies Created
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I would literally delete that frame if it bothers you. Probably wouldn’t be noticeable. But if it is you could use the previous frame to cover just that portion of the frame.
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Probably something just broke with an OSX update. It is a 7 year old app after all. I’m sure you have a great reason, but I’m curious- why are you using motion 4 and why exporting to h264 instead of ProRes? Seems that even if you needed h264 that you’d first create a ProRes master and use compressor to create the h264.
The only reason I can think of for using Motion 4 is that you need FCP7 roundtripping capability, but you’re not doing that. Or you’re still using FCP7 and Motion 4 but if you don’t need the roundtripping capability I’d start using Motion 5 if your hardware supports it.
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T-tap and its interface is antiquated as all get out but it doesn’t crash X. I get other weirdness like the screen flashing when I do a screenshot. Or it not releasing hold of after effects even after I’ve quit after effects. Overall BMD is the nicer, cheaper solution but geez the crashing. So grab the cheapest t-tap you can find and get back to work. Hopefully BMD will get their act together. Or Apple. My BMD works perfectly in AE and Resolve.
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Blend mode and transparency are two different things. So if you have transparent items in your group, they need to be adjusted within the group itself.
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I always drag directly from the finder into X and it always leaves in place. I never tweak the folder structure. Does that not work for this flavor of avc?
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Try just adding a glow to the text. A little blur. Maybe use add mode.
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Got my t-tap off eBay for $220. Doesn’t crash FCPX. Does what it’s supposed to. The playback lag might be a little less than the Ultrastudio express. I think it does 2k instead of just 1080p. It has a bunch of test patterns I don’t need. The interface is pretty sad. Black magic and Matrox definitely have better user interfaces. But I’m not sure the end result is any different. Although I don’t see many options for up/down conversion. AJA’s controls is a stand alone app that doesn’t reside in system prefs. It’d be nice if it did.
But all in all it does the same thing as a black magic mini monitor that costs half as much. Not really sure why anyone would pay $295 for a t-tap unless they’re having the BMD crashing issue a few are having.
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If you still have the library the project is in, you can simply use the file>open>library>restore from backup command. That might not be exactly the right menu path, but it’s something like that. X will give you a list of backups available for that library. Pick the most recent one before you mucked it up and there ya go. If the media is offline just drag it into the event or import it again or relink it. Whatever is appropriate.
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But you can put your person on a turntable of sorts and shoot them on blue screen while you rotate THEM instead of the camera. Now you essentially have a 3D model (from one camera angle) and in AE you would match the rotation and angle of the virtual camera to the rotation and angle of the blue screen clip.
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This is genius I think. The default scaling is based on percentage of fitting the whole screen. That way, when you decide you’d like to make a 4k version of your timeline, all you have to do is duplicate it and change the settings to 4k and render. All your scalings and keyframings will look correct.
If X were to scale based on absolute pixels as you’re wondering, then when you change the 1080p sequence to 4k, the 50% would be based on an absolute and 50% would still be 50%, but in a 4k sequence it would be HALF the size of the frame, and in a 1080p sequence it would FILL the frame. NOT what you would want most of the time.
If you want it to act as absolute 1 to 1 pixel ratio, where you would never exceed 100%, then change the spatial conform to NONE instead of the default of FIT. I actually do this occasionally when using 4k in a 1080p sequence as you suggest because I know I’m not going to be making a 4k version. But it’s better to just learn the math. You can blow up 4k 200% in a 1080p and 300% in a 720p.
FCP legacy was based on absolute scaling and key framing and when you tried to switch to a SD sequence from a HD or vice version either via copy and paste or changing sequence settings, you had to redo every shot that was scaled and keyframes. Easy if every shot is the same size and scaling but in any other case a major pain. Especially key framing.