Simon Ubsdell
6
COW Coins
Forum Replies Created
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[Eli Hollander] “About the keyer, your tutorial is helpful and full of subtle “tricks.” I was wondering if the method you are outlining can be made into a FCP X custom filter so that one could achieve similar results from within FCP X?”
Thanks, Eli.
Yes, indeed. As I mentioned to Jeremy over on the Techniques forum, it would be perfectly possible to publish the controls you need to be able to make use of this inside FCP X.
You’d obviously need to start building it in a Motion Effects project rather than just a standard composition.
There might be complications I haven’t thought of but in principle it should work. It’s important to make sure you sue clones throughout where indicated rather than substituting duplicates.
Simon Ubsdell
http://www.tokyo-uk.com -
Thanks very much, Herb 🙂 It pleases me no end that you found it interesting.
Simon Ubsdell
http://www.tokyo-uk.com -
Thanks, Don.
It may look a bit daunting (especially if you’re not that familiar with keying) but the upside is that if you do follow along through to the end, you’ve built yourself a pretty powerful keyer than you can re-use again and again.
It won’t be the perfect solution to every keying situation, but then no single keyer ever is – but it’s certainly useful to know about.
And hopefully you’ve learned some useful stuff about the principles of keying which will always stand you in good stead. So many users simply push the sliders around on their favourite keyer without really knowing what’s going on and wonder why they can’t get a perfect result.
Thanks for watching 🙂
Simon Ubsdell
http://www.tokyo-uk.com -
[Petter Stahre] “Superb! Very interesting, since I’ve experimented a lot with finding the best keying software for FCPX.
I tend to use PHYX keyer mostly and sometimes the built in keyer.
But after this tutorial I might try Motion and make my own. It will be very interesting to see the forthcoming tutorials.”
Thanks, Petter.
The Phyx keyer is pretty good from what I’ve been told, but even if you have access to the best keyers around, it’s still extremely useful to know how to key in this fashion.
Even the awesomely good Keylight is sometimes not the perfect solution to a tricky key, or not the solution on its own – and then these techniques can save the day.
Every keying situation throws up different problems, so the more weapons you can have in your armoury the better prepared you’ll be.
Incidentally it’s really useful to know how to make procedural garbage mattes (covered in the next part of this tutorial) as well as Holdout Mattes as shown in this one (included in some versions of Keylight but not in most commercial keyers). You’ll save yourself a ton of time if you can get these to work and get a better key most of the time.
Anyway, thanks very much for watching 🙂
Simon Ubsdell
http://www.tokyo-uk.com -
[Jeremy Garchow] “Nice work!
I would have started with:
Step 1: Send to Motion. Doh!”
Thanks, Jeremy 🙂
Actually you’ve probably worked out that with a bit of judicious Motion Publishing one could make oneself an Effect version of this that would be available in FCP X.
Even just making the spill suppressor component for FCP X would be a pretty handy way to go, as the Apple keyer’s spill suppression is not exactly ideal.
Simon Ubsdell
http://www.tokyo-uk.com -
AMA in Media Composer.
Way out in front as the worst offender. Countless wasted hours. Grrrrrrrrr …..
Simon Ubsdell
http://www.tokyo-uk.com -
Great post, Oliver – that totally nails the trials and tribulations of the indie scene.
Especially the “deferrals never get paid” part 😉
Simon Ubsdell
http://www.tokyo-uk.com -
[Shawn Miller] “[Simon Ubsdell] “”The promo was cut on Apple FCP X and graded on Adobe SpeedGrade.”
That’s just weird.”
Maybe they shot raw and used SG for conversion and grading…”
I meant given the choice of using Resolve why would anyone opt for the considerable limitations of SpeedGrade?
Simon Ubsdell
http://www.tokyo-uk.com -
[Shane Ross] “16 TEMP tracks.”
Indeed, this is what I meant. And as you say, very old Media Composer holdover. Amazing how many film editors still stick with this format for the day to day business of getting the cut into shape.
Simon Ubsdell
http://www.tokyo-uk.com -
[TImothy Auld] “I just want someone who is dealing with more than 16 audio tracks to tell me honestly, is this really viable? “
Ironically, a lot of feature film edits will often top out at 16 tracks of audio in my experience – but somehow they are the benchmark for professional editing!
It’s a funny old world.
Simon Ubsdell
http://www.tokyo-uk.com