Jason Diebler
Forum Replies Created
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Look at the File>Automate options in Photoshop. Maybe play with Contact Sheet… I made a similar grid-like document once before, and I know I used one of the Automate options.
“The deepest blues are black” – Foo Fighters
(this doesn’t help me when I’m chroma keying!) -
Could be your sequence settings. Are your video processing/render motion quality settings both set to best?
Also, you may have better results w/ your fade in/out transitions on these clips if they are actually done in Motion, not in FCP.
“The deepest blues are black” – Foo Fighters
(this doesn’t help me when I’m chroma keying!) -
Always good to save a copy of the working project file as well… if it can get corrupted once, it can get corrupted again.
Always have a version1 and a version1_a or something of that sort… you can email yourself those project files too.
“The deepest blues are black” – Foo Fighters
(this doesn’t help me when I’m chroma keying!) -
There was a thread on the COW about a program called Traffic that could probably automate that for you… look into that.
“The deepest blues are black” – Foo Fighters
(this doesn’t help me when I’m chroma keying!) -
Are you describing your Viewer Window in FCP? Double-click on the clip in the sequence and it should load in your Viewer. Reset your Window Arrangement if you’re still not seeing it.
If you roundtripped your clip from FCP and aren’t seeing the filters in Motion, that’s because filters (minus 1 or 2 exceptions) don’t roundtrip.
I’m not clear if this helps.
“The deepest blues are black” – Foo Fighters
(this doesn’t help me when I’m chroma keying!) -
FCPs keyers are more user friendly, but I’m not convinced they’re necessarily better than the tools that Motion offers — the bezier masks alone make Motion’s ability to tweak a bit stronger. However, the Motion workflow is too slow and laborious to be the go-to app for keying in my opinion.
On a daily basis, I am keying footage shot from less-than-ideal blue screen setups. Our source material is often full of noise, underexposed, and contains lots of problem areas (shadows, wrinkles, etc). Over time, I compared keyers in FCP, Motion, and AE to see what yielded the best results… and in the end, decided to purchase Primatte Keyer Pro from Red Giant. It squashes all these others hands down. It’s 4x slower to render than FCPs keyer, but it does things beyond FCPs limits. It is slightly on the pricey side, but worth it.
Last note: taking steps to color correct clips either in Color or using FCPs Color Corrector 3-Way (w/ Limit Effect) before to prep the clips helps tremendously. I color correct, then export, then key the newly color corrected clip. It’s easier to hone in on your ranges when the clips have been treated to give you more handle room.
“The deepest blues are black” – Foo Fighters
(this doesn’t help me when I’m chroma keying!) -
Since there’s only a few offline clips and you don’t want to relink to the original master, maybe open your Scratch in Quicktime, trim and save new copy, and force reconnect the new files… perhaps there’s a better way some knows?
“The deepest blues are black” – Foo Fighters
(this doesn’t help me when I’m chroma keying!) -
Yep, just pull the key, crop if needed, and stack your layers one on top of the other, foreground always on top. 4 of you = 4 tracks (v2,3,4,5), add in a background to the bottom track (v1).
“The deepest blues are black” – Foo Fighters
(this doesn’t help me when I’m chroma keying!) -
The footage looks really good. Try using the Stabilize Behavior in Motion, you may get a better result… just make sure your export settings are set to Render Best/Full Res or that your FCP sequence settings (if you roundtrip) are set to Video Processing/Render Quality = Best.
“The deepest blues are black” – Foo Fighters
(this doesn’t help me when I’m chroma keying!) -
Consider if you will need to keyframe your mask, if so, then you want to stay in FCP or Motion.
“The deepest blues are black” – Foo Fighters
(this doesn’t help me when I’m chroma keying!)