David Bogie
Forum Replies Created
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The image on the ground is a wonderful addition.
There is one thing in the real spots that really sells the effect: practical lights on the set. Extremely hip designers worked on those spots and they had flashlights with gels to shine on the faces of the actors and the settings to help the illusion along. Guessing that the light-painting guys were in black suits.
If someone is trying to emulate this effect well, they need to think about the shoot as well as the post.
bogiesan
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Quick?
No.
Good effects are hard enough. Elegant effects are even harder.bogiesan
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Another way is to create a precomp that has a tint filter applied to your leave image. Aniate the tint colors. Use the precomp as your emitter source.
bogiesan
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What is your question?
What is GS?bogiesan
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I’d do this by wrapping the postcard image partially around two CC cylinder filters, one for the front, one for the back. Done this often with falling leaves. You can animate the cylinders to flip and flap and spin while animating their precomped layer to have some ballistics.
bogiesan
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Danrw, You’re going to find lots of filters don’t behave like you think they should. I don’t thinik anyone has ever successfully rationalized how the FCP coders decided to put effects AFTER cropping but we’re stuck with it and, since we’ve been screaming about it since v1, it doesnt seem likely to change soon.
You can “easily” nest the cropped images, though, to a new layer and apply your bevel to the smaller layer. However, it really is easier to crop and apply stylization in another application.
bogiesan
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Bones, look it up in the manual. It’s completely different from AE and it’s stupid. ONe of the many things about FCP that we’ve been screaming about since v1 or 2. Just a lame and dul paradigm.
The timeline has keyframes for the center parameter but you cannot edit them like you can scale or rotation. You must set the CTI on the k.f. and then right-click the thing itself in the Canvas, not in the timeline. Selecting ease will give you TWO indecipherably stupid dots, one for timing ease and one for the curve ease and, if the distance the layer is traveling is short, the eases will shoot out in some completely unexpected direction, making you wish you hadn’t even tried. FCP’s code monkeys really earned their coconuts on designing this completely useless feature.
bogiesan
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This also assumes you have everything set up properly for multiclip editing in realtime and are using the correct interface. All I can tell you is this: FCP’s implementation is absurdly complex, it shoudl be a total no-braner. If you follow the instruction exactly, mutliclip works like a charm. If you screw up any of a dozen or so tiny details, all kinds of weird things can go wrong. It takes me four or five tries every time I start a mutliclip project because I jsut don’t use it often enough. I find I have to toss the multiclip several times before and I have to reconfigure lots of settings before things fall into place.
Active multiclip tracks under Viuew gets me every time as does setting the stupid OPEN in both views. I have created a custom button bar for switching and cutting audio separately from video and they help tremendously
bogiesan.
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[Peterd] “Does anyone know if there’s a way to manually change the media in/out points in FCP 6? More specifically I want the audio and video media timecodes to match on some clips that the audio TC is different.
“Try to rephrase that one more time. I’m not watching over your shoulder.
Meantime, look in the manual for auxiliary timecode.
bogiesan
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Yeah, there’s probably plenty you haven’t bothered to say.
What do you mean, in no uncertain terms, by won’t “play?”bogiesan