[James Martin]

Thanks Brett. In the end I didn’t use your template, because I’d already come across a different technique.

If anyone stumbles across this thread looking for the same answer be sure to check out Brett’s solution, or this one:
https://www.provideocoalition.com/motion-blur-in-final-cut-pro-x-via-motion/

[James Martin]

Okay, a workaround, but hardly ideal, was to import the xml for the film again, and copy existing grades across with colortrace.

A faff, but nexessary in the absence of anything else.

[James Martin]

Yup, that would make sense. I just can’t figure out why the animated stroke would lose all S&P data between comps while the static one doesn’t.

I might have to chalk it off to experience and move on.

[James Martin]

Thanks Dave. That’s a good workaround.

Any idea why that weirdness is happening?

[James Martin]

Thanks, Jeremy. It was the XMP that AE decided to sneak in just by imorting the clip to AE. I don’t see an easy fix for this missing media, but at least now it won’t happen again.

Anyone who finds this thread – uncheck the xmp preference in AE as below:

[James Martin]

So, if I understand you – you want the clips as separate files, like they appear on the timeline, with the effects you have applied!?

It may help suggest a workflow if you explain why you want to do this – what do you want to do with those files?

Editing software is non-destructive to source media, so if you save the project file / library, you can always return to them to make changes. Alternatively, if you want to work on the film in another application, you’d export the xml and use that.

You mention you want to create the equivalent to a psd file – your FCPX library IS that equivalent. You seem concerned about rasterising, but that type of thing is not such an issue in FCP as it’s non-destructive – you’re always working with the equivalent of smart objects.

[James Martin]

What do you mean by “export a video without touching the clips parts”?

[James Martin]

When you put stuff in to a project, but not on the primary storyline, by default it will connect to a primary storyline clip – this is the cornerstone of the magnetic timeline in fcpx.

To reveal a clip’s audio and shorten or lengthen independently of the video, select the clip and press CTRL-S to reveal the audio and video components of a clip separately. To slip the audio, you’d need to completely detach it – shift, CTRL S.

[James Martin]

The line denotes where a clip is attached to the clips on the primary storyline. If you move the clip on the primary story line the connected clip moves with it. If you shorten the primary storyline clip so that the start or end over or undershoots the connection point, the connected clip will have to move with it.

So, you need to change the point at which the clip is attached to the primary storyline clip. Press and hold ctrl & alt, and click on the connected clip at a point that will lie within the bounds of the clip you want to shorten. You will see that green line move.

Alternatively, put that clip you want to unchanged in a secondary storyline. Select clip > cmd G.