[Robbert-jan Van der does]

Hi Zach,

Thanks for your reply.
Bummer! It would be cool if it worked that way.
Anyway, I already incorporated a manual control for the rotation and I added an optional wiggle checkbox to give it some “liveliness”.

I have posted the effect here, together with some screenshots: https://forums.creativecow.net/thread/344/1806

Kind regards,

Robbert-Jan van der Does
lighting cameraman/steadicam operator/editor

WISIWYG (What I See Is What You Get)

[Robbert-jan Van der does]

Glad you found it!

Kind regards,

Robbert-Jan van der Does
lighting cameraman/steadicam operator/editor

WISIWYG (What I See Is What You Get)

[Robbert-jan Van der does]

One other thing to check maybe.
When you select the clip, go to the inspector. Then the Info tab and at the bottom select “Settings View”.
Here you can check if the field order settings match your project.
There might be a mismatch.
I had this the other day with XDCAM (SD) material that was shot progressive (PsF). My project was also progressive but the clips were interpreted as Upper Field First. The result was that I only saw half the resolution in the viewer. I had to set the field order to None.

Kind regards,

Robbert-Jan van der Does
lighting cameraman/steadicam operator/editor

WISIWYG (What I See Is What You Get)

[Robbert-jan Van der does]

Hi Chase,

Did you check your settings in the preferences?
In the Playback section of the preference pane you can set the Playback Quality to “High Quality”.
You might already have tried this, but it’s all I can think of right now.

Kind regards,

Robbert-Jan van der Does
lighting cameraman/steadicam operator/editor

WISIWYG (What I See Is What You Get)

[Robbert-jan Van der does]

Hi Kevin,

It seems to me that the scopes show much more than is at the output to the screen.
I ran some tests with a grayscale.
First I made a FCPX effect in Motion 5 with only the levels effect applied.
Then I took a grayscale image which I made in Photoshop with 11 gray bars in 10% increments from black to white.
I put this grayscale image in the timeline and I placed a duplicate as a connected clip above.
I cropped the upper clip so that it covered the bottom 3rd of the underlying clip and I applied the self-made levels effect to it. On the lower clip I applied the built in color correction and later on also the broadcast safe filter.
Here are the results (written in blue underneath the images):

Unfortunately we cannot yet hook up an external scope to check the output, because it is an odd behaviour.
If you want to test some for yourself, here is the grayscale image I used: grayscale.png

Kind regards,

Robbert-Jan van der Does
lighting cameraman/steadicam operator/editor

WISIWYG (What I See Is What You Get)

[Robbert-jan Van der does]

Hi Simon,

Super useful,
Thank you very much!

Regards,
Robbert-Jan

[Robbert-jan Van der does]

Hi,

I’m just wondering what happens if you connect the clips for the composite underneath and above the primary storyline?
I’m still not used to this possibility because in my mind “underneath” means “audio”, but in FCPX it can be video as well.
I can’t check it myself at the moment as I am not near my edit computer and unfortunately my laptop is a 1st gen MacBookPro from 2006 and can’t run FCPX.
Would it be possible to set it up as you were used to in FCP 7?

Regards,
Robbert-Jan

[Robbert-jan Van der does]

UPDATE:

I ran throug some different options and it seems that it only has something to do with the “match legacy” checkbox in the project settings.
In my last test I had the footage interpreted as SDTV PAL,
Project settings SDTV PAL as color profile.
Match Legacy checkbox on.
Export settings SDTV as color profile.

This seems OK, although I can see a slight difference on the fcp waveform monitor. Not on my TV monitor though.

Regards,
Robbert-Jan

[Robbert-jan Van der does]

Nope,

this doesn’t work for me, so I’ll stick to the Apple RGB colorspace.

thanks and veel plezier too.

Robbert-Jan

[Robbert-jan Van der does]

Hey Oredano,

thanks for posting this solution.
I ran into the same problems working with XDCAM IMX 50 footage.
I will describe the workflow.

– In AE CS3 project settings I turned Color Management on and selected the SDTV PAL profile

– Imported a IMX50 625/50 file and interpreted this footage to have a SDTV PAL color profile

– Dropped the footage in a 16 bit comp

– Rendered out to IMX50 625/50 with SDTV PAL color profile

– Reimported the rendered clip in AE CS3

– Placed the clip in the same comp as the original

– RESULT: no difference

– Imported the clip in FCP6 together with the original

– RESULT: the rendered clip from AE was way too dark. I could match it reasonably well with a gamma correction of 0.84 in FCP, but although the mids seemed ok, the blacks and whites were off.

– Then I repeated the whole process using your workaround. So I changed all the color profiles to Apple RGB and switched the Match Legacy option on.

– RESULT: there was no difference anymore between the two clips. They matched perfectly!!!!

So, for anyone working in SD PAL, this seems the only way round for now.

Thanks again,

you saved my day.

regards
Robbert-Jan van der Does