Robin S. kurz
Forum Replies Created
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If you did not assign the roles BEFORE synching, then you will have to do the synced clips manually. Role assignments are (fortunately) not recursive. The same goes for clips in the project timeline. If you assign a role to a clip in the timeline, that change won’t be reflected in the master in the event, as well as the other way around.
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[Bill Davis] “It seems to me that the program is doing precisely what I’d want it to do. “
This is in no way what FCP X should be doing. By any stretch of the imagination.
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[Michael Lynch] “I don’t have an easy place to store a screenshot or I’d post one.”
How about HERE? 😉
Simply click the little camera icon above the text field, upload the file, select it in the list and copy the subsequent embed link into your answer text .
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I already said “don’t expect magic”, yes. But I have in fact been able to get amazing results from speed ramping footage even down to 10 or less percent with optical flow, but mostly from within Motion, not FCP, where you have a tad more control. Only a trained eye could tell the difference. In fact is was mixed in with actual Phantom footage and no one suspected a thing.
I’m just saying give it a shot and see what you think. It could work great, but it could look horrid. It’s the best if not only shot you have.
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[Andy Neil] “the slow-motion becomes harder and harder to interpolate.”
This, again, is very relative to the actual material you’re applying the effect to. I have had shots that literally couldn’t have been distinguished from actual high-speed shots after slowing them with optical flow applied. So it’s always worth a try. Just don’t expect magic.
But then you also might want to just “Blade Speed” and set the second segment to something around 10-20% and just cut out at the desired point to maintain more of a “moving” effect, rather than just a still to end on.
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Yepp. It’s this little detail that you set at the top right of your viewer. Andy beat me to it. 😉
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I would suggest setting a “Hold Frame” (⇧H) at the point where you’d like the shot to stop, then simply edit the speed transition between the moving video and the hold frame to your liking. Double click the handle of the hold frame to create the transition. Also be sure to set the video quality to “Optical Flow”, in the hope that there is not too much camera movement for it to look good. If so, then you can in fact create a pretty amazing effect.
For anything beyond that you’d have to go to Motion. But even then, how good it in fact looks all depends on the footage itself.
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Question is, is the the REWRAPPED footage or the original media from the camera? Because I can only speak to what I wrote in the context of the original media that was ingested directly from the camera or card.
At least going by what you describe, your material shows all the signs of being interlaced and/or being misinterpreted. If it was in fact recorded progressive then all of this is of course moot. But from the limited amount of info I was able to find about the camera, it does in fact record 60i. So it’s not a complete impossibility.
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[David Hudson] “What approach might you have used here?”
That’s a perfectly good choice. Using an adjustment layer would be another option.
