I worked with a client and set notes inside the compound clip like (from here… to this point…).

Why wouldn’t you simply do that in the event as with any other clip? Mark ins and outs, even multiple if you want, and favorite or keyword them. Done.

Color Finale is just transcoding and doesn’t need the Apple SDK and therefore doesn’t need Apple’s approval.

It certainly needs to adhere to e.g. the FX Plug SDK to become a valid plugin (of that magnitude).

So, no, CF’s transcoder is not a system-level extension, therefore doesn’t need “approval” in the sense that a codec would. Compa…

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Instead of speculation about it being entirely up to BMD, here’s the word from the BMD employee behind Blackmagic Raw. https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=99200&p=745483#p744864
“We have tried a couple of times to get permission to do the work ourselves and develop a plugin to support Blackmagic RAW in FCPX like we do for Pre…

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So you’re applying it to the Shear, not the clip as initially stated.

Well, either way, I can’t reconstruct. Doing that here works just fine. And if it plays normally in Motion <i style=”font-weight: bold;”>before export, then it can only have something to do with your export settings. Even if I can’t think of what that might be.

By the looks of things most everything is just painfully OLD. You need to keep things at least semi-up-to-date. Universe, for example, is at version 5.1 (and is in fact Apple Silicon compatible) where you’re on 3.3.1!

https://www.maxon.net/en/red-giant-complete/universe

And whether the FX Factory plugins have updates can easily be seen in it’s app.…

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That I haven’t looked into, so I have no idea what I’m missing, if anything.

Well, I actually just did (unscientifically), and I have to say… I’m not impressed.

Unless someone else can show me anything better to change my mind? Otherwise, at this point, I won’t be missing or shedding a tear over it.

Actually, I’m m…

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Really for most work, even broadcast work Apple ProRes HQ may be all that’s needed.

Why even HQ? I’ve never gone beyond 422 and more often than not even shot in mere LT and have yet to hear of any complaints.

BTW, when shooting with cameras that do PRRAW (to my AtomOS, obviously) I will in fact shoot in it. Not because I think I need it, but s…

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Just on a side-note: this new forum is an absolute UX nightmare. Nothing appears to work as it, I assume, is supposed to. 🙄

The problem is the end user still has to make a difficult workflow decision.

I personally think that’s hyperbole. Because I have several BMD cameras and there is still absolutely no chance that I could switch to Resole or any…

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First off, BRAW is most certainly not competition to ProRes RAW, since BRAW, unlike ProRes RAW, is by definition not even RAW to begin with. So Apple couldn’t care less if it ran on FCP. Otherwise, by that logic, why would they support any and every other (relevant) RAW format?

Secondly, it is entirely up to BMD to work with Apple to get BRAW…

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DPI refers to the number of printed dots contained within one inch of an image printed by a printer. Therefore that value is completely and utterly irrelevant in the world of video. It’s also most certainly not interchangeable with PPI because PPI refers to the number of pixels contained within one inch of an image displayed on a computer monitor.… Read more

Oscillate is a parameter behavior. And while you could “apply it to an object” it won’t do anything. So clearly you’d need to be much more specific about what exactly you are doing. Namely which parameter you’re applying it to.

One can only assume… an alpha channel?

Of course, you don’t actually say what it is you expect to see and/or be able to do with it, where you’re even viewing it and in which context, nor what you’re outputting and how, so we’re left to blindly guess. 🤷🏼‍♂️

You’ll want to use a Particle Emitter attached to a path along with the hand. Emit from a point and maybe try playing around with an Attractor behavior on a random object to “suck” whatever your particle is to where you want them to go.

That will usually mean that the keyframes on opposite sides of the vertice are set to different interpolation types or if you have multiple keyframes selected from different curves. Obviously a single keyframe can’t have multiple interpolation settings.

Whether or not any of that applies is unfortunately not visible in the screenshot. But you…

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Click and drag the keyframe while holding the ⌘-key.

Applying things like masks or filters force the rasterization of the layer. You need to “Work smarter“. 😉

Apply to whatever parameter.

I’m sorry, but as far as this task is concerned, I don’t know of anything that AE has to offer that Motion can’t cover just as well. And most certainly not faster. So I really don’t know where you’re getting the notion that AE could be the “quickest solution” for anything. AE is a great app, but most definitely an absolute SLOTH at everything it does.

In fact the most important part is how you shoot it. After that it’s all in the grading, not any 3D lights after the fact. Very well explained here for example. Including tips on grading.

I don’t quite understand what 3D lighting is supposed to do. How is that useful or relevant in a 2D scene? And why even Motion? You can do this just as well in FCP. There’s even a “Night” color filter! I don’t actually see any advantages in doing it in Motion, unless maybe you want to track in a new sky or something.

There are endless day-for-night…

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OK, but… WT🤬? I literally had to re-edit the last post three times before it didn’t link to the wrong URL again! Just plain bizarre. 😒

Hey Mark! Thanks for the heads up!

The link thing here seems rather messed up since somehow, even though what you see is in fact the correct URL, the underlying URL is for the deleted version of the video that I had originally posted and then changed! 😒

So once again, the REAL and correct underlying (i.e. clickable) URL and link is: https://youtu.be&hellip;

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If you find things such as Final Cut Pro, but especially column sets and audio descriptions interesting (who doesn’t, right??) then you’ll want to take a look at this 😉

https://youtu.be/9Wg4WUdRaXU

– RK

You might want to try opening one of the backups.

/Users/user_name/Movies/Motion Projects/Autosave Vault

– RK

There are five types of Motion projects, four of which “sync” automatically with FCP, yes. Namely all but the regular Motion project since that can’t be imported into FCP directly either way.

So if you created e.g. a title, saved it, used it in FCP, reopened it (either via FCP or the Finder), changed it, and saved it again, those changes would be…

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Nope. Unless you send feedback and they change it.

https://www.apple.com/feedback/motion.html

– RK

You can set the Emitter shape to “Geometry” and then define your shape as the Shape Source. Then whatever you have defined as your particle CELL will only emit from the boundaries of that shape.

– RK

It’s even easier than that. Simply drag the new media on top of the old media’s thumbnail in the layers list and drop when you see the hooked arrow. Done.

– RK

Simply duplicate the cell and use whatever other image?

“Is there some way that I can type in a value for the bezier handle weight?”

 

Unfortunately not, no. Something I also dearly miss. 😕

– RK

Oh wow. Nice catch!

IF it’s been there before, I certainly never knew about it. ???

– RK

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Personally, I wouldn’t want to edit RED on any of those machines, even if it did work. I have enough grey hair as it is, thanks.

Nor do I even get how anyone editing material from a $40.000 camera can’t use or afford a machine from so much as the last FIVE years. Just seems weird.

-… Read more

If you’re interested in seeing everything new and improved in Final Cut Pro X, Motion, and Compressor, including a LIVE Q&A chat with @Alex4D and myself during the premiere, then tune into the exclusive 75 minute video on everything you need to know about the #fcpx update!

Today the 25th at 9:45am PT / 1:45pm ET / 7:45pm CET! Any and all s… Read more