Robin S. kurz
Forum Replies Created
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Unfortunately, that’s a bug. You’ll have to make a rastered image of the file and use that.
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The only way to vary the width of a stroke is to first change it to AIRBRUSH and set it in the stroke parameters. But then you lose the arrowhead as an end cap option. So if anything, you’d have to make some sort of hybrid of the two. OR you could rotate it in 3D space and set a camera with a very high field of view in front of it. That’s assuming it’s just a straight line/arrow.
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[Bill Davis] “Because the database gets formed separately from the actual clip import process, and because X allows a user to work so fast, it’s quite possible to literally FINISH an edit, before all the footage you’re working with is actually imported!”
I caught that, too, and thought “now I finally know why this is happening to people so often!” because I could never figure out why and how. That aspect never occurred to me. 🙂
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I’ve had various PSDs come in flattened only, too. It would seem that somehow some will have the layers “flag”, for lack of a better term, not set correctly for Motion to recognise. Opening said files in either PS or Pixelmator and simply re-saving them has so far fixed that. No idea on which end the bug lies, but it’s an annoying one, yes.
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[David Battistella] “one of the dumbest things I have read on Creative Cow in years.”
Happy to oblige. Keep up the belligerence. Always a great foundation for any argument.
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[David Battistella] “Would have to sift through the film and remove any reference to R3D audio and then figure where and how to get that all synced up.”
I personally don’t get why anyone shooting on RED of all things wouldn’t be shooting dual-system audio to begin with. In which case the whole problem would be (and is, in my case) completely irrelevant.
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[John Vogel] “Does the same hold true if I’m looking to embed my motion file in my time line?”
If you mean as in placing a Motion template into your FCP X timeline via one of the respective Title, Generator, FX etc. browsers, then, no. A raw Motion file is completely compression agnostic. It will then render in whatever codec your FCP timeline is set to. If you render it out of Motion, it would of course be smart to render it in the format that the timeline is in, to avoid re-rendering (which by default is ProRes 422 in FCP X).
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The presets are irrelevant to the export. The presets merely define the resolution, aspect ratio etc. The output format is decided on upon export of the finished project. This ain’t FCP. 😉
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BTW… why would you choose the arduous task of masking the image as opposed to simply erasing what you don’t need in Photoshop or Pixelmator or whatever image processor you have i.e. creating an alpha instead?
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[John Vogel] “Motion 4 doesn’t offer any Prores presets.”
Huh? Sure it does. The default is in fact ProRes 4444. You simply change it in the export window.