Simon Ubsdell
6
COW Coins
Forum Replies Created
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[Timothy Payton] ” But the currently color controls in FCP X are a pretty good tool once you understand them.”
Note that you can nudge the controls with the up and down arrows for slightly finer control than you can otherwise get – though for me the gearing seems to be a bit on the crude side overall. Anyone else find this?
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
Agree that Blender is an amazingly interestingly application and astonishing for being free.
I really like Modo for 3D. It’s a relative newcomer but its speed, modelling tools and photorealism are very hard to beat and the 64 bit version absolutely screams. Its animation hasn’t yet been fully developed so you can’t yet do character animation. But if you’re looking for value then it’s outstanding and will only keep getting better.
The other low-cost option is LightWave which is a much stronger contender these days than in the past.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
You need to change the problem keyframe to linear if you don’t want this behaviour – right click it for the interactive menu. You appear to have a “smooth” handle there right now.
You might find that you get better (or just as good) results quicker using the Ken Burns effect.
Just be aware that FCPX doesn’t give you a ability to manipulate “temporal” animation keyframes, only spatial ones (you can affect how your object moves through space between keyframes but not the speed of the motion to and from those keyframes) – which for many will be a real limitation right now. If you can’t live with that you’ll need to do your animations in Motion.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[David Battistella] ” If I want a clip back I go back one sequence and copy paste it.”
The problem with this for me is how cumbersome Apple have made the process of “tabbing” between projects – this feels like a serious encumbrance to speed for me. Hence my suggestion of making a compound clip that sits in the Browser to house your temporarily assembled footage.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[John Fishback] ” I’ve used Media Encoder and Compressor and feel Compressor has much more control over encoding parameters.”
As always it’s about using the right tool for the job. They both have their strengths and weaknesses and I use both depending on the jobn in hand. Not much chance of getting a 50Mbps Mpeg2 (needed for TV delivery in some territories) out of Compressor for example, but easily done in AME.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[samir kassab] “Is there a way to do this or smthg similar in FCPX ?”
Not really. You can copy and paste from different “projects” (sequences as they used to be called) which is a sort of a workaround but you can actually edit from them.
One way would be to create a blank compound clip in the event library, open it up in the timeline and then paste your roughly assembled footage into it. That way you’d have something you could edit from that would be stored in the browser and you could mark clips from. Obviously you wouldn’t be able to see where the cuts were though which would be a limitation.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[Brendan Gibbons] “hmmm…odd”
Thanks for confirming – I guess in practice it doesn’t matter a huge amount, but it’s good to know even the very little things. Sorry to have wasted your time 😉
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
No, I mean a completely empty Event. Put anything in it and you’re OK, but leave it empty and it won’t move. Not a big thing, but an odd thing.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[olof ekbergh] “Motion is pretty fast for previewing complex comps.”
Absolutely agree. Elaborate compositing in FCP is not time well spent, now any more than previously. Motion is for compositing, FCP is for editing and always has been. The real-time capabilities of Motion have meant that it has always been the fastest mograph solution around despite not having all the power of AE.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com -
[Herb Sevush] “I’m not sure the broadcast business will ever trust their resources to a company that is so obviously unconcerned with backwards compatibility.”
I think more than anything the pro editing community is coming to the realization that Apple’s business model is not a “natural fit” with theirs.
We tend to choose our suppliers based on our perception of whether or not their business objectives are more or less on a par with ours. We look at AVID and Adobe and AJA, to name only those that begin with an A, and we see that to survive or fail they must take account of our business needs and more or less adapt to them. If they ignore our business needs, they will go out of business in fairly short order.
Contrari-wise we look at Apple (now) and we see a business that only happens by chance to be travelling the same path as we are. Somehow we have chosen to ignore this for a number of years – suddenly the truth of it is inescapable. We have everything to lose, they have virtually nothing. Whether or not they are committed to carrying on along the same path as us, we have been made aware of how precarious the relationship is on our side. We have been very lucky so far, but now we realize that it was indeed luck all along.
Simon Ubsdell
Director/Editor/Writer
http://www.tokyo-uk.com