Mark Morache
Forum Replies Created
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Hey Don… I think you were part of the discussion we had on this last month. It was hearing about others adding keyframes that made me try it.
Then I noticed that when I deleted the added keyframe, that the position of the object changed.
Whooda thought?
Now, if you select the clip with the transition, and hit shift-t, you should see your clip in the viewer with a red line indicating the motion path, and white arrowheads indicating the keyframes on the path. It’s the white arrowheads you want to right-click.
If there are no position keyframes on the clip, there will be no line or arrow headsl
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Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
Just a thought…
Go into your roles tab in the timeline index. To the right of each role name is a box with an up arrow in it to minimize each role.
The boxes should be grey. If any of them are blue, then the clips with those roles are minimized in the timeline.
———
Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
If you select the background with the keyframes, and hit the transform button in the lower left hand corner of the viewer or hit shift-t, you should see the animation curve in the viewer.
Right click on the ends to select linear or smooth for the keyframe interpretation.
Now here’s where it becomes troublesome. I find that even if I have linear selected, there is still some acceleration and deceleration as the clip approaches the keyframes.
If you want the movement to be completely linear without any acceleration, I have a strange workaround.
There’s the keyframe button in the upper left hand corner of the viewer. Jump to your first position keyframe, tap the right arrow button on your keyboard to travel a few frames away from the keyframe, hit the add keyframe button, then hit it again to delete the new keyframe. I do this 2 or 3 times.
Now jump to the next keyframe, and travel a few frames before the keyframe and do this again.
Do this create/delete keyframe dance around each of your desired keyframes. You only need to do this between your desired keyframes. For example you don’t need to do this before your first keyframe, or after your last keyframe. If I have more than 2 position keyframes, I do this a few frames before and a few frames after each
When you delete the extra keyframe the first time, you should see the position of the clip shift. I don’t understand this, but there seems to be some sort of ramping on your initial keyframes that get changed when you add the new keyframe right next to it. You don’t have control over this ramping, but this strange procedure will help you work aroud it by forcing it to change.
Good luck.
———
Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
One trick to see if the field dominance is correct is to step through your clip or sequence field by field.
In FCPX, you can hold down the option key and press the right arrow key to step through a field at a time.
Find part of a scene where there’s some motion. Stepping through the scene field by field, you should see the motion progressing in a constant direction. If the field dominance isn’t correct, the motion will step backwards/forwards/backwards/forwards.
If you must deinterlace, you don’t need to halve the resolution. There are different schemes of deinterlacing. It’s not ideal, but it’s not bad.
Good luck.
———
Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
Hmmmm… Standard def. Gotta love it.
I’m wondering. Do you see the jaggies when you’re editing? What about the output?
And when you’re editing, what is the size of the viewer window? Are you viewing clips at 100%?
Is your project the same format as the clips?I just tried bringing some dv footage into a project, and I didn’t notice any bad jagged edges.
I would expect if the project is the same format as the footage, that any jagged edges you see won’t be visible in the final product, if it’s going to be watched on a tv set. Try a test, and see if the final output is what you would expect.
If you are delivering for the web, you may want to do some deinterlacing.
Anyone else have any advice?
———
Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
From what I understand about Plural Eyes, you can sync them in the timeline, but you can also sync and have PE replace the audio in the clip with the matched audio.
This creates compound clips in the event browser.
Once the clips are there, you can easily create auditions in the timeline by dragging a compound clip from the bin onto a compound clip on the timeline, and selecting “add to audition”.
Now if the clips are already in the timeline, it might be more troublesome. It might be worth going back and re-synching using “replace audio” to create the compound clips in the event browser.
There may be another way, but it may be time consuming.
I don’t see a mention in the manual for creating auditions with multiple clips, but I’ve done it, so it seems to work, so I suppose you could create a compound clip with all of your takes, then “duplicate as audition” for each different take. From here, you could step into each version of the audition, and remove everything except the one take you want in there. Then you would step out of the compound and shorten it to the length of the take. Time consuming, but it could work.
Is there a reason you didn’t use the “replace audio” option?
———
Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
Once a compound clip is in the timeline, you can control click and “duplicate as audition”.
This will duplicate the compound and then you can either step into it to change it, or add different effects to the audition.
I don’t know if you’re thinking of this, but I would be careful about creating a compound of a large group of individual clips and use that as an editing source. Project bloat and all that.
———
Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
[Michael Sanders] “Editing multichannel audio in the timeline. Even with just two channels it really is a pain, to make sure everything stays in sync.”
Sync doesn’t become an issue if you keep the audio embedded in the clip.
I understand that you want to edit the individual channels. We shoot with four channels running on our cameras, and I’ve gotten into the habit of opening the clips in timeline mode, and making the changes I want to.
It’s not that difficult. It’s not nearly as easy as funning through the timeline in FCP7 with an automated audio control surface, but it works.
[Michael Sanders] “I can never have enough timeline view. “
You can use the roles index to minimize selected audio clips. There may be some files you don’t need to see, and this adds space to the timeline.
I also compound clips quite a bit. Especially when I have a layered video effect. You can break the compound clips to see the clips in the context of the timeline.
I’ve mentioned before that I wish we could open up a compound in the timeline instead of in it’s own timeline, like the way Avid clips expand. I like to see what I’m doing in relation to the clips around the compound.
[Michael Sanders] “Why oh why oh why have Apple decided to put render files in the project folder?”
I agree that this is problematic. I understand it, but it makes huge project files.
I also hate that when I duplicate the project I must duplicate the renders. (a way around this is to create a compound clip in a project, duplicate the clip as an audition, and then step into the audition to make any changes to create a new version of something… this seems to re-use render files)
I’m just a little uncomfortable with the huge number of files created in the render folder. I have a 3 1/2 minute story, and there are over 1600 items in the render folder. I’m glad it all stays “under the hood” but seriously!
———
Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
Would have?
I’d say will be, and headed there fast.
———
Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com -
Now I’m pretty sure the key framing of the mask is new. I couldn’t do that before.
Right?
———
Don’t live your life in a secondary storyline.Mark Morache
FCPX/FCP7/Xpri/Avid
Evening Magazine,Seattle, WA
https://fcpx.wordpress.com