[Doug Metz]

[Noah Kadner] “Perhaps the Mac itself needs repair too.”

This is what I was thinking. OTOH, the port does (mostly) work, so maybe this will correct the issue with the iMac:

https://discussions.apple.com/docs/DOC-3603

Doug Metz

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[Doug Metz]

Dang! Missed it by *that* much…

Doug Metz

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[Doug Metz]

[Bret Williams] “It’s not (edit “just”) a reference. It’s also tool to drag around the viewer without switching to the hand tool. It only appears when part of the image is obscured by the interface.”

Indeed… just wanted to assure Joe that it wasn’t a watermark that would ‘print’ to output.

Doug Metz

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[Doug Metz]

[Craig Shields] ” …the Flow transition doesn’t look as good. Now it looks like a crappy dissolve. A previous render under 10.3.2 looks smooth, this doesn’t.”

I noticed this too. Even if I modify the in/out on either side, or if I change the duration of the transition, it still isn’t as good as it was in 10.3.2. Not cool.

Also noticed that audio clips assigned the ‘Music’ role now fade up – no matter where you start playback in the timeline. Not exactly thrilled with this, either.

*Edit* Trashed prefs and relaunched… music fade-up is now back to previous behavior.

Doug Metz

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[Doug Metz]

I’ve had a look at your clip, and see that you’ve got audio in the primary, and your visuals are part of a connected secondary storyline. A few questions:

– When you add the freeze frame, the secondary jumps to make room for something else. Is this due to another clip connected to the primary further down the line?

– Could you try moving the audio track out of the primary and putting your visuals there? Maybe a different result…

– Do you have those slides as individual images? Looks like they’re video – how were they recorded?

Doug Metz

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[Doug Metz]

Here you go:

11249_panupcredits.zip

*Edit* – Install in ~/Movies/Motion Templates/Effects

Place your graphic on the timeline, scale as needed, position the top edge of the still at the top of the frame. You can add the effect before or after positioning.

For scrolling credits, you’ll want to add a bunch of blank space to the top of your image so the credits enter from the bottom of the frame.

Doug Metz

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[Doug Metz]

I was able to come up with about a 7/8 solution as an effect. I linked the ‘Y’ position to the height of the source image, and added a behavior that moves from 0% to 100% – caveat is that you first need to line up the top edge of the .png to the top of the frame once it’s in the timeline.

After that, it scrolls until the last bit is off screen no matter what the duration is. I can post the plugin if you want to try it (or open it in Motion to see what’s in there).

Doug Metz

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[Doug Metz]

[Michael Hadley] “That said, don’t you think we should be able to specify which clip/angle in a multicam the timecode reader/generator takes it’s marching orders from? “

YES! That would be nice. I’ve sent feedback.

Doug Metz

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[Doug Metz]

[Joe Tillman] “Problem is, FCP is orienting everything vertically as if I am dealing with Iphone video. There is also an icon on the screen of every clip that indicates where the video is in relation to the center of the screen. It too shows that the video is vertical instead of horizontal like it should be.”

As Noah mentioned, your project is set for vertical video – probably because the first clip you inserted into the timeline was vertical. If you select the project in the browser, you’ll see at the top of the inspector where you can modify the project settings to the correct size/orientation – you won’t be able to change frame rate unless the timeline is empty.

The icon is simply a reference to what’s visible in the viewer vs. the entire canvas. It is reference for you only, and doesn’t write to the finished output. To see the entire canvas in the viewer, set it to ‘Fit’ in the upper right (next to the ‘View’ dropdown).

Doug Metz

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[Doug Metz]

I have worked around this problem by removing the Timecode effect from the Multicam container, opening the master Multicam clip from the browser, then in the angle editor, apply the Timecode effect directly to the angle you want. When you’re done with the rough, go back into the master clip and either delete the effect or simply toggle it off.

Doug Metz

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