I think if you own BMD cameras, it’s really worth to learn even a minimum of Resolve (which often comes free with the camera) to make ProRes dailies for your FCP session. Without becoming a full-blown colorist, you can get really usable assets with a minimum of fuss. The only thing that would make my life easier would be built-in BRAW support in…

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I’ve had a look through the manual and features. Can anyone tell me the advantage of using this plug-in over transcoding with Resolve (Lite or Studio)?

It sounds like you need to adjust your black level in your green screen key. Have you looked at the matte channel to see if the black is fully black or if there’s white schmutz (a tech term) in there. Are you using the FCPX keyer or something else?

I would look into Simon Says: https://www.simonsays.ai

They’re very reasonable and it’s easy to clean up your files on their system before importing them to your project.

OK, I’ll add another wrinkle. I often use FCP as my Online and Offline tool and do my color correction and dailies grade in Resolve. For example, I shoot 4.6K raw and bring everything into Resolve. I do a one light grade and render dailies to HD and cut like crazy in FCPX. Then I export a timeline (reel) as an XML and bring it back to Resolve…

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In truth, the Oxberry is around to do 2.5D style animation with repeatable motion control, but photo animation/pan & scan moves seems a lot more straightforward in AE or FCP using Ken Burns. Back to FCP, there is something, shall we say, “non-optimized” about working with stills sequences in a timeline. I like using FCP for cutting…

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Oliver: are you talking about doing moves on an Oxberry? I’ve got one here if you need one! I’ll get the platen cleaned off for you.

As far as stills are concerned, I think FCP still does not work with them efficiently for many things. I often cut animation storyboards, which are stills in sequence with or without camera moves. 4 frames here, 2 f…

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