Kevin Monahan
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Or stack up the clips, add the blink filter and keyframe it.
Kevin Monahan
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Sounds like a feature request. No, there’s no way I know of that will do this.
Kevin Monahan
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In your scratch disk prefs, limit capture now to 30 minutes.
Kevin Monahan
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You won’t lose anything. Unless you click a button that asks if you want to do an “Erase and Install” instead. Don’t do that.
Apple.com has the instructions as does your Help menu.
Learning to do a clean reinstall is something all editors should be able to do.
You’ll need your install disks handy.
Keep on Truckin’Kevin Monahan
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Hi Mike,
Hard to really tell what the trouble is. How are you moving the anchor point to the corners? Do you use the distort tool. That’s the proper way to click and drag it around the screen. When a clip is scaled down, you get a “counterbalance” line that carries the layer number. That is NOT the anchor point, the point you are clicking and dragging on is.Your X, Y coordinates seem OK. As many do not know, the Y axis is “flipped” from the one you learned about in algebra class. You seem to have grasped that.
Kevin Monahan
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Sounds like some complicated matte work. As the boys say, you need to rotoscope AKA cut out a new matte for every frame. It’s tedious, and maybe something you don’t have time to do. Fortunately, there are a lot of folks out there that specialize in doing this stuff. Sometimes, you can even get an eager student to help you out.
This might be too tough for you if you have little experience with mattes, might want to sub-contract the job – watch and learn the process – and do the roto work yourself next time.
Fully agree that pre-production could have solved your problems where you can plan on having only the apples in the room as red objects. All other objects would be colored other than red. Using the color corrector’s limit effects function is tough unless you have very few color tones in the shot. Typically, you’ll need to do a bit of garbage matting in the very least.
Kevin Monahan
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Basic ROT:
Long clips and slow drives are the recipe for synch problems on capture.Kevin Monahan
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You can try other modes too, like Overlay, Add or Soft Light. Depending on the colors of the footage, your results will vary wildly. When trying different modes, adjust the amount of blur and/or opacity to get a varying look.
A levels call, using the Color Corrector 3-Way to the upper clip, might be a nice touch to get just the right “look” you are after (blown out, saturated, etc).
Kevin Monahan
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[bogiesan] “Replace Edit requires understanding AutoSelect.
Can’t be done.”
That’s too funny.
But seriously. If you wanna edit with the big boys, ya gots ta rock with the Replace Edit. It’s often the best way to synch an audio cue with a specific frame of video and other tricks, like the speed trick in the viewer.The other methods of adjusting speed are valid, but I usually go for the fastest and most available to keyboard shortcuts.
Kevin Monahan
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Telly’s FX come free with the purchase my book, “Motion Graphics and Effects in Final Cut Pro”.
These are high quality filters designed by Nattress:
Filters:
Telly’s Bump Map
Telly’s Displace
Telly’s H/V Blur
Telly’s Radial Blur
Telly’s Directional Blur
Telly’s FBM Noise
Telly’s Channel Switcher
Telly’s BorderGenerators:
Telly’s Random Number Generator
Telly’s FBM NoiseTransitions:
Telly’s H/V Blur Dissolve
Telly’s Directional Blur DissolveTry ’em, you’ll like ’em. 😉
Kevin Monahan
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fcpworld.com