Nikolas Bäurle
Forum Replies Created
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I just tried Charlie’s add/remove trick. Cool. Adding/removing a keyframe one frame before and one frame after your original keyframe changes its interpolation to linear. So it does the same thing as
ctrl + clicking the keyframe and changing it.What bugs me a little about the viewer keyframe interface is that in when B and C are on the same position, even though you navigate from B to C, one keyframe is on top of the other. Grab one of the keyframes and pull it down, then you see both, click on each and change the interpolation. The problem you get then is that one of the Keyframes needs to be put back exactly where it was, so back to the inspector and copy paste the parameters.
Charlie’s way of doing it is faster. Set your keyframes, navigate to keyframe B do the add/remove trick.
Its not really a bug, I like using the curves, but it depends on the style. What needs to happen is for Apple to add the interpolation option in the inspector and timeline. One keyframe covering the other, thats the bug.
Nik
“Always look on the bright side of life” – Monty Python
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I agree with Carsten. In my experience this has to do with linear or smooth. I’ve never used Charlie’s add/remove trick, I will try it though. If the image rocks back and forth ending at the same position then you need to set the keyframes to linear. So far it has always worked for me. If the image suddenly jumps back and forth after reaching the end of an animation then you have an extra keyframe somewhere.
Nik
“Always look on the bright side of life” – Monty Python
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Hey Charlie, I don’t think the video is the solution to Dan’s problem. As far as I understand it, he needs the second and third keyframe to be the same, so that the image doesn’t move at all between the keyframes. His issue has to do with the interpolation of the keyframes.
Nik
“Always look on the bright side of life” – Monty Python
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The issue here is that FCPX has a tendency of setting the keyframes to smooth (bezier) rather than linear. The order you set your keyframes in does affect the result. I tend to set my B and C keyframes first. However, I do regularly get the problem you have, and don’t understand why. Apple does need to improve this by adding the option to change this in the inspector, even though I feel that its a great improvement to FCP 7.
You need to use the Keyframe editor in the viewer as well as the one in the inspector. If you’ve set them in the inspector or inspector doesn’t really matter.
You should also be able to do it in the timeline by opening the video animation (crtl + V). Then ctrl + click on each keyrame and change it to linear. I don’t have final cut infront of me at the moment, so I’m not sure, I usually use the keyframe editor in the viewer, since the clients I do jpeg animation for like curves, and controlling curves handles can only be done in the viewer.
So, once your four keyframes are set, use the viewer keyframe editor. You will notice that Keyframes B and C are on the same position in the viewer. Ctrl + click on that keyframe you see, a menu should appear that gives you the option of a linear or smooth keyframe. Change it to linear. However you will notice that there still is some movement. The problem here is that both keyframes are at the same position in the viewer. Because of this the mouse can’t click on both, kind of buggy. In the inspector or viewer navigate using the arrows to C, grab it in the viewer and pull it from its original position, now you can see B and C and you will see a curved line between them. Ctrl + click each keyframe and change them to linear, now the line between them should be straight. Since you moved the C key frame you can either pull it back with the mouse, or to be more exact and avoid any movement change it back in the inspector.
Nik
“Always look on the bright side of life” – Monty Python
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Yes, FCPX is very usable for Pro’s. There is absolutely no reason whatsoever not to consider it pro, unless you have certain specific workflows you might need.
Rendering speeds are awesome, the organization of footage is a lot better than in FCP7, once you get used to the magnetic timeline it’s very fast to work with, exporting separate Audio Tracks for TV works very well with roles.Sofar I’ve mostly used it for short form, currently I’m finishing a 60 min Low Budget Experimental using XDCAM and my 8 year old 500 GB Raid FW800 Drive, connected to my 2011 MacBook Pro. Never had a problem, spinning beach balls once in a while.
I’m starting to edit a 90 min Dokumentary this Month, probably using eSATA, lets see how that goes…
I work in Berlin, Germany. The Market here really hates change, there are still very few companies using it – I’m still flabbergasted to find companies here that still haven’t figured out that FCP Legacy is as professional as Avid.
But I just got a FCPXjob offer for a regular gig starting next month, internet stuff.
The Editor Knut Hake has been using FCPx for the German TV series Danny Lowinski and is currently editing his 3rd narrative feature on it.
I am seeing quite a few prosumer editors adopting it, especially some actor friends of mine editing their own demotapes, a few Kameramen, a Musician friend of mine, and funny enough the Painter who’s Experimental I’m finishing
You should check out Larry Jordan’s page https://www.larryjordan.biz/
and very good training by https://www.rippletraining.com
“Always look on the bright side of life” – Monty Python
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What I like about the magnetic timeline is the fact that you never overwrite anything, unless you’re using P and don’t pay attention. The fact that you don’t need to assign tracks is a great plus, if I don’t like where FCPX places it I just move it up or down, with Avid and FCP7 you spend more time making sure you don’t overwrite anything. In avid you always have to click on a tool to be able to do anything. I prefer the intuitive FCPX Mouse.
Generally I place my clips on the secondary storyline and once I’m done with that portion move it down to the primary. If I’m editing documentary or corporate stuff I always place the interviews on the primary, leave gaps between the clips and edit the the rest of the footage on the secondary and leave it there I prefer adding dissolves on the secondary, dissolves on the primary still feel a little funky to me…
For Music Videos I only use the primary for the multicam clip if I’m editing performance. For a narrative only video I directed in Oktober I never used the primary, since I needed clips to stay put,…now that I think about it I could have used the primary for the song.
“Always look on the bright side of life” – Monty Python
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FCPX will establish itself as a great software. These discussions remind me of the time back in 2001 when I decided to start using FCP 2.0. At the time I was working for one of Germany’s top commercial directors. He adopted FCP, and we cut everything on miniDV, and exportet EDLs. Das Werk, where he did the finishing hated FCP, but they had to deal with it.
A small postproduction I work for has been using FCPX for over a year now. We had problems at first, of course FCPX was to blame, very slow rendering. But I kept on telling them to check their harddrives. A week later their Raids broke down. After that everything worked fine.
At another somewhat bigger Postproduction I work for, the Chief Editor hates FCPX but she only tried it a couple of hours. She even claimed FCPX would never establish itself. This comes from an editor who only knows FCP Legacy, doesn’t like Premiere and hates Avid, for whatever reason, probably since working fx in Avid is pretty tedious. But she’s a very good editor. However I believe, like in many cases she doesn’t want to have to adapt to something new. A conversation with her (originally in German):
She “Nik, FCP7 won’t die, don’t worry.”
Me “Really…”
She “You can’t edit features length films on X, I tried it out.”
Me “Danni Lowinsky is edited on FCPX and Knut Hake just finished his second feature on it”
She “On X?”
Me “Yeah.”
She “Aha….”
This is what I experience a lot, editors not using it have the biggest opinions, especially if they’ve never used FCP Legacy.
For what I do, I don’t miss anything from Legacy. Magazine, Feature, Experimental, Music Videos, Industry, works great.Craigs experience at BBC is quite refreshing to me. I also work at DW-TV in Berlin. Wish they had the same attitude BBC has. But this year they want to try and get rid of most Soundtechnicians and Editors for news and features and have journalists and translators do everything themselves. Write edit speak. On a really crappy VPMS system, which is actually used to move sequences around. It can only do hard cuts and sound dissolves. And sofar it takes longer and the sound is horrible.
I’m sorry for this long rant… 🙂
Nik
“Always look on the bright side of life” – Monty Python
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I predict there will still be people dissing FCPX even after version XXX, especially the ones that never really used it.
In the meantime FCPX Editors are going to continue having lots of fun.“Always look on the bright side of life” – Monty Python
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You could export the files to XDCAM EX if possible. It works natively in FCP X and the files will be less than half the size.
You could use H264 and edit with proxies. But be sure to avoid working in original quality, in this case.
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It sounds to me like its your imac grafic card. If the video plays fine on an Air with FCPX(?) it shouldn’t be the software. I’ve had similar problems but with FCP 7 and the latest MacPros while editing XDCAM at one of the posthouses I work at. If someone was grading footage on another workstation, I would regularly see green and pink pixel junk. When exporting it would always look fine. I would check the hardware.