[David Eells]

Hey again

Color correcting after the fact would be fine, except that I’m layering, so that every layer needs to be corrected separately.

I’ve definitely got my AE head on when I’m using Motion, but I had no effects head at all (!) when I started with AE, and I found it profoundly intuitive. And let’s face it, Apple has its eye on the AE user.

Anyway, thanks for your time and attention.

Best,

B

[David Eells]

Hey Walter

Thanks for responding. So if you’re cutting in FCP, and you have a shot that really needs color correction, (and Wondertouch is having a bad day), would you color correct in FCP, then output a QT movie, bring that back into FCP and then send that clip to Motion? I can do/have done that, just seems a little inelegant.

Also, am I correct in my feeling that Motion isn’t quite ready for prime time?

Cheers,

Bud

[David Eells]

I put the filter after the mask, if that’s what you mean, but the whole raster was affected. In this case I had an oval mask around the subject’s face; the effect did not respect the shape of the mask.

If that works for you and not for me, then maybe there’s some other issue to consider.

[David Eells]

I haven’t yet been able to cut and paste keyframes from one layer to another. It has to be possible, right? Select keyframe, command-c, navigate to new layer, command-v — should work, right?
Not for me. Not even if I add keyframes to the parameter first.

Clearly the developers were looking at After Effects when they made this puppy. Copying keyframes should be pretty intuitive for AE users (including the way new keyframes are added when you change a value on keyframed parameter, and being able to move keframes proportionately on the timeline – as in “option-select” keyframes, then drag the last keyframe back and forth.)

[David Eells]

Now maybe I’m new to Motion, but I don’t quite understand why, when I add a filter (in this case Desaturate) to a layer that is reduced in size over another layer, the video from the bottom layer goes away and a full size, non-Desaturated version of the second layer is in its place – even though according to the timeline, nothing is amiss…

[David Eells]

Paul –

Thanks for the tip. I’ll try that later today.

[David Eells]

Paul –

Thanks for the tip. I’ll try that later today.

[David Eells]

Hi Andy

Thanks for the response. I was capturing to an internal HD designated for media, and I tried using the DV-PAL, DV-PAL Basic and and DV50 PAL and 8-bit PAL. For all but the 8-bit PAL I could see but not capture. I wasn’t giving the J30 a reference signal at all – it’s a rental so it’s going back today.

[David Eells]

Yes, I switched it in the back, although my understanding is that it autoselects between PAL and NTSC.

What’s working for the moment is to capture the PAL footage using Roxio Easy Media Creator and then import those clips into Final Cut. Roxio makes avi files, but Final Cut recognizes them as PAL-DV. Not ideal, but acceptable if there’s nothing better.

[David Eells]

Yes, I switched it in the back, although my understanding is that it autoselects between PAL and NTSC.

What’s working for the moment is to capture the PAL footage using Roxio Easy Media Creator and then import those clips into Final Cut. Roxio makes avi files, but Final Cut recognizes them as PAL-DV. Not ideal, but acceptable if there’s nothing better.