[David Bogie]

Mostly, yes, you can freely toss the contents.
But don’t be surprised if something critical in your project breaks.

bogiesan

[David Bogie]

You only need a “capture card” for specific formats, monitoring tasks, output to specific codecs, or recording to certain tape formats.
Tell us what your think you’re trying to do.

bogiesan.

[David Bogie]

Not really. It’s a particle system and, by definition, they’re random.
However, the SEED parameter can be used to reproduce the effects precisely. That is, if you set up a CC Bubbles effect on your system and want me to duplicate it, all you have to do is give me all of the settings and your seed number and the bubbles will be precisely the same on both of our machines, asumign everything else is the same.

So, you might be able to keyframe the seed parameter to bring you back to the start of your animation but I doubt it will work as you hope.

bogiesan

[David Bogie]

Trying to do streaks in AE without a streaking filter, like Trapcode, usually involves precomping and adding significant time manipulation or echofilters to the precomp. Easily done using CC TimeFX or TimeBlend although getting the settings is a bit tricky. For instance, one of those time filters requires two copies of the filter, one set to paste the other to copy. Very confusing and not necessarily explained in the docos.

Jens may point you to the tutorials on the Cycore site for the older CC filters that come with AE. Excellent material but still a bit confusing.

bogiesan

[David Bogie]

Alan’s advice is sound but I sense your reluctance. Try this then, divide your man sequence up into four discreet reels about about 12=15 minutes each. You can do that by simply using the razor blade across all tracks and moving them to a new sequence or nesting them. You work on one reel ore sequence at a time reducing your machine’s media management calls by 75%.

This is easier than it sounds but the first time you try it can be rather confusing and intimidating. Suggest you make a copy of your project and call it Slide Show Reels before experimenting with this method. And, frankly, it’s not for everyone. but way beack in the olden days of FCP2 and FCP3, that’s how we did anything that was longer than about 15 minutes. The agony of waiting for “preparing” or worse was just too much to tolerate. We found workarounds.

bogiesan

[David Bogie]

Not to be dismissive but, umm, that’s why we call editing a job. You can set up your text items in many different ways, just like in Powerpoint. You can create individual text elements for each item or you can program a reveal using a moving mask, crop settings keyframes, vertical scrolling motion, word-based animations in Motion or LiveType.

Each of these has stylistic implications and you consider your audience and your message before you consider your text build methods.

To get you started, here’s how I used to this in the olden days:
1. Start with the finished build, all bullet points are on the screen, composed, edited, carefully designed, all typography and spelling issues are dealt with. Let’s say there are five bullet points and title, a total of six items.
2. This single, complete text element is set to run for the entire length of the build while you are editing because clients keep changing their minds. You want to know what the final build looks like before working on the individual bullets.
3. Once it’s approved, what I call golden, I make one copy for each item (need five copies in this case) and start to trim them and drop them into place onto the timeline in time with the narration.
4. Starting with the penultimate item, open it in the text editor and delete the last bullet so this text element has the title and four bullets.
5. Go to the next previous text element and open it in the text editor to delete the last two bullets so it now contains only the title and three bullets.
6. Repeat three more times.

The reason I learned to do it this way is that it was always easier to subtract items from the final build than it was to add new ones when the clients changed their minds and none of the alignments or typographical adjustments changed between edits.

bogiesan

[David Bogie]

I think you’re making some poor decisions up front without knowing why or what the unintended consequences might be. However, after you’ve been working on your project for a few months, please come back and tell us what you’ve learned and if the advice you received was of any value.

read these:
https://images.apple.com/pro/pdf/L317074A_FCP_Wkflw.pdf
https://www.indiefilmpro.com/pdf/P2%20Card%20Workflow.pdf
https://www.bloodspots.net/p2_workflow
https://www.scribd.com/doc/7494899/DVCPro-P2-No-NonSense-Guide

bogiesan

[David Bogie]

I cannot see nor even imagine what you’re seeing.

Are you sure they’re scaling? does the scale parameter change? Are they 3D layers? Is the group 3D? Around what axis are you rotating?

bogiesan

[David Bogie]

Good call, thanks for the reminder.
Watched that months ago.

bogiesan

[David Bogie]

All I can tell you is, yes, something fundamental has changed in the Boris titlers between 6 and 7. I can see it on my machine. Regardless of my field and render settings, Boris seems to only render as progressive.

There have been other posts on other FCP forums but no one has reported any contact with Boris.

bogiesan