Simon Ubsdell
6
COW Coins
Forum Replies Created
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This is a peculiarity in the way the Ultra Keyer works – you’ll notice that you don’t have the same issue with Primatte.
Here’s a workaround.
Instead of piping your Ultra Keyer output directly into the merge, use it to mask your foreground (green screen) image.
To do that add a Channel Booleans tool to your foreground image and then pipe the Ultra Keyer output into the foreground input of the Channel Booleans. Set the mode to Multiply and then set all the channels to take Alpha FG.
If you then take the output of the Channel Booleans and pipe that into your Merge, you will avoid the cropping issue.
There may be another way around it but that one works. You can use the Merge Size control to adjust the size of your foreground and can dispense with the Transform node. If you do keep the transform node, make sure that you use it to affect both the input to the Keyer and the input to the Channel Booleans for obvious reasons.
Hope that helps.
Simon Ubsdell
tokyo productions
hawaiki -
It’s hard to tell from your description but it looks as though you are using a crop tool prior to your keyer.
Try putting it after the keyer instead and that should solve the problem, if I have understood it correctly.
Simon Ubsdell
tokyo productions
hawaiki -
[Robin S. Kurz] “Yeah, Simon, I totally meant they literally copy/pasted code from one to the other. DAMN! Got me! So brilliant. :-))”
But if you didn’t mean that, what did you mean? I’m genuinely interested.
[Robin S. Kurz] ” Shake, Soundtrack, even Color are still alive within FCP X. … The technology of all of the above is factually within FCP X.”
Let’s take Shake. Which parts of Shake are “factually” “still alive within FCP X”? It’s quite a bold claim.
Simon Ubsdell
tokyo productions
hawaiki -
[Herb Sevush] “Once your multicam source is created you can open it in a timeline, select any or all tracks and choose either Set or Scale to frame size (more options, more complexity, more choices) for any offending camera angles and all those nasty black bars will go away.”
Or indeed simply use the Motion tab of the Effect Controls for each track to set the size, which is exactly the workflow that Robin describes for FCP X … ironically.
Simon Ubsdell
tokyo productions
hawaiki -
[Robin S. Kurz] “My first and foremost problem was, that I (unknowingly, since it has never been anything I needed to even think about before) combined footage with varying resolution. That lead to anything that was smaller than the largest clip getting a big nasty black border around it. W… T…? Took me ages to figure out.”
I think most Premiere users will find it quite surprising that you couldn’t easily work out how to deal with this. It really isn’t rocket science.
Imagine the scorn you would heap on a FCP X user for showing comparable ineptitude!
Simon Ubsdell
tokyo productions
hawaiki -
[Robin S. Kurz] “You know full well that I can’t.”
You might want to think about not throwing around words like “factually”, when all you have is unverifiable hearsay.
[Robin S. Kurz] ” Shake, Soundtrack, even Color are still alive within FCP X. … The technology of all of the above is factually within FCP X.”
Especially when your claims are intrinsically improbable.
Simon Ubsdell
tokyo productions
hawaiki -
[Robin S. Kurz] ” Shake, Soundtrack, even Color are still alive within FCP X. … The technology of all of the above is factually within FCP X.”
Sounds very interesting if true.
Could you show us some of the lines of code that are shared between these applications and FCP X or reference a reliable source to substantiate this?
Simon Ubsdell
tokyo productions
hawaiki -
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At the rate he’s going , I wouldn’t put it past Grant Petty to be the one buying Apple.
😉
Simon Ubsdell
tokyo productions
hawaiki -
Spotted Dick is a pudding fit for kings, I’ll have you know!
(Though maybe not from a can …)
Simon Ubsdell
tokyo productions
hawaiki