[Jon Kozenko]

Jeff,

Actually, given the MGS example in your video, it is possible to do this using a round-about method; note that this can only be done with stills, not video clips. However, if you make a still of the first frame of the incoming video, you can use Graffiti to cheat a Transition.

The method you would have to follow would be to first export the first frame of the next video file (as well as other frames to give the grid-style appearance), and then place the second clip right after the first clip in the host timeline. Then, in Graffiti, create a series of Solid Color tracks, and condense them – when you do so, on the Timeline, each Solid Color should show an eye-drop to the right – click on this, and you should be prompted with a list of alternate options, one being ‘Still Image File’. Select this, and point Graffiti to the Still. This is how you can import the images. After that, you can place them all into a 3D Container track, and then individually arrange them into the Grid pattern (make sure that Position and Scale have Interpolation set to Constant). Once you’ve done this, you can control the X/Y/Z parameters of the 3D Container, and the entire Grid will move accordingly.

Admittedly this is a round-about method, but it should allow you to perform this in Graffiti.

Thanks.

[Jon Kozenko]

Hello Jeff.

Just to confirm, you’re describing a picture-in-picture type of arrangement with multiple video layers? If so, then unfortunately, you will not be able to do this, as Graffiti only supports a single video track. For this, I might recommend you try the trial of Boris RED; this will have the capability, although note that you will have to use RED as a stand-alone program as it does not plug into Corel.

Thanks.

[Jon Kozenko]

Steve,
In the RED interface, go under the Preview menu, and then into the Image sub-menu (should be about exactly half way down). In here, you should have the options of Proxy, Source and Update Source. You will want this to be set to Update Source, but it sounds like it’s set to Proxy. If it’s set to Proxy, change it to Update Source; if it’s set to Update Source already, try setting it to Proxy and back to Update Source, and see if this makes it click.

If this does not work, go back to FCP and into a menu on your Sequence window labelled ‘RT’ (should be in the upper-left of the Sequence window). In here, you should have the options of ‘Safe RT’ and ‘Unlimited RT’ – if it’s set to Unlimited, change it to Safe and re-apply RED.

Thanks,
Jon

[Jon Kozenko]

Wilfried,

Are you applying the Sapphire effects inside the RED interface itself? If so, how did you install the Sapphire plugs into RED? Was it manually, or did you use a custom install option? Also, are you on a PC or a Mac? If you’re on a Mac, can you send us a crash report? If you’re on PC, can you forward any error messages that might come up? Send them to me at support@borisfx.com. Send it along and we can take a look. As for the effect you’re looking to use, there might be something within the BCC effects, pre-loaded in Boris RED, that can carry out the desired effect.

Thanks,

Jon

[Jon Kozenko]

Peter,

I was able to create a similar effect using the BCC Spotlight and a few Constant variables in Boris RED. First, I set the Light Source X and Y to Constant and set them towards the middle of the screen (you can put this center point onto a lighthouse in an image), and also set the Target Y to Constant, at a point 40 pixels above (so a lower number) the Source Y. This way the light, when behind/in front of the Lighthouse, is still visible. Then, I set the Light Elevation to 1.0, and set this to Constant (setting it to 0.0 makes it black).

Then, the final change was I changed the Target X to Keyframe so that it would move back and forth. You can even position the Target X so that it moves far away Light Source X, resulting in a more consistent light levels, and I found that the default Light Cone Width is perfect for this effect.

If you’d like I can send you a copy of the .red file I made with this effect – it’s just the light over a black Color. Hope this helps you get started with this look. If you want the project, send me an email at support@borisfx.com.

Thanks.

[Jon Kozenko]

John,

The error that is coming up means that the effects you had in your previous projects were AVX_1.5; BCC 5 did provide both AVX_1.5 and AVX_2, but BCC 7 is only AVX_2. You should, however, be able to ‘Promote’ the effects to ‘Advanced Keyframes’ (thus promoting them from AVX_1.5 to AVX_2) in the Effect Editor. This should allow your new BCC 7 installation to read these existing effects.

Thanks.

[Jon Kozenko]

Amanda,

This could indeed be a codec issue, but there are two quick (and free) tests you can conduct. First, if none of the media is coming in online (and is failing to reconnect), try starting a New Project in After Effects, and try importing one of these MXF files from Avid into it. If it works, the the problem is with the project/AAF, but if not, then it’s with After Effects reading that MXF type. The second test would be to try the trial of Calibrated Q’s MXF Importer; if After Effects is unable to load any of this MXF media, even in a New Project, on its own, then this trial for Calibrated Q’s MXF Importer will load, I believe, the first half of the imported MXF clip once installed. This will show you if you need the Calibrated Q software installed to get After Effects to load these particular MXF files.

Thanks,

Jon

[Jon Kozenko]

Amanda,

You mention Calibrated Q – as such, are the MXF files from a Camera, versus somewhere else like an Avid system? Are you looking to use the Transfer AE to load the MXF media directly into After Effects? If so, which version of After Effects are you using? I ask this because After Effects CS6 should be able to read MXF files natively (no Calibrated translation necessary), in which case the MXF files would load into a Transferred project as any other media (such as .mov) files would.

What is the path, from first editor to the second, are you looking to Transfer (ie, FCP to AE)? Also, will you be going from one system to another, or will you be performing this Transfer on one system?

Thanks,

Jon

[Jon Kozenko]

Hello Adam.
When you apply the FEC Blur Transition, it should automatically load in the Controls window, and in the Controls window, above the main controls (such as ‘Show Overlay Controls’ and ‘Animation), there should be multiple Tabs, including one for ‘Blur Extras’ – the ability to enhance the blur using Vertical and Horizontal controls will be inside there. If you don’t see the other tabs in the Controls window, expand the ‘FEC Blur Transition’ layer in the RED timeline, and inside there expand ‘Transformations’, and there should be a sub-layer called ‘Blur Extras’ – click on that and this portion will load into the Controls window.

Note also that the Vertical and Horizontal blur will appear to be set to Maximum by default, as the sliders will be all the way to the right, and the default for both will be 100. Click on the 100, and you can type in a greater value, up to 10000.

Hope this helps.
Jon

[Jon Kozenko]

Byron,

Thanks. Since this might take a bit of two-way correspondence, do you think you can also send me a follow-up email for easier communication?