Stephan Walfridsson
Forum Replies Created
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The stuttering is normal and is caused by the speed of the pan. It’s more prominent when there is no motionblur.
Check out this Adobe knowledgebase article for more info: https://kb2.adobe.com/community/publishing/908/cpsid_90843.html
Especially the two sections Camera Technique and Critical Speed./Stephan
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It seems to me that it is handheld shots that have been stabilized. The wobbling is the shifting of perspective which is still present in the image while the handheld motion has been reduced/smoothed.
Stephan
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A complicated but potentially nice looking solution would be to try optical flow retiming to generate a new frame.
I guess you would need to create a compound clip containing a couple of frames around the white offending frame. Cut out the white frame and then apply a 50% slowmo using Optical Flow to the compound. Trim down the compound and use it to replace the offending frame.
I haven’t tried this myself so the process may be a bit more convoluted, but in theory it should work. 😉
Stephan
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[Oliver Peters] “My gut feeling is that Apple has decided to dumb down the effects within FCP X. They probably feel that those folks wanting more control should do it in Motion.”
[Mark Morache] I’m not convinced of this. There is too much in FCX that’s powerful and professional to believe they are only trying to create a product for youtubers. And honestly, how much can they dumb it down and still keep it powerful?”
Actually the FXPlug 2.0 documentation quite strongly supports Olivers gut feeling:
Users of Final Cut Pro X are looking to solve specific tasks rather than to apply particular effects. In general, you should avoid publishing long lists of parameters that are likely to confuse users and make completing their tasks harder rather than easier.
Advanced users who need more control will be able to either open your Final Cut Effect in Motion and edit it themselves, or create their own Final Cut Effects within Motion for their specific task. Remember, less advanced users will be overwhelmed by filters that are too complex and won’t generally need to control every parameter in a given filter.
Admittedly this is about publishing effects from motion, not effect handling in FCPX, but it still shows their point of view.
Stephan
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[Bill Davis] “image down to say 3840×2160 pixels… …Compared to a camera master “8 megapixel” still, that’s a MUCH smaller file”
No Bill, 3840×2160 is 8.3 megapixels, so it’s actually a LARGER file.
Stephan
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If the red is truly pure and there isn’t to much jpeg compression artifacts then here is how I would do it in Final Cut:
1. Duplicate the logo as a new master clip (in the browser). (Let’s call this copy “Matte”)
2. Add a Channel swap filter to the Original master clip and set Red from -> Green. This will remove the red and leave a monochrome logo on black. (Let’s call this clip “Logo on black”)
3. Add a Compound arithmetic filter on the “Matte” clip and drag the “Logo on black” into the image well. Set operator to Subtract and Channel to RGB.
4. Add a Channel swap filter to the “Matte” clip and set Alpha from -> Inverse Red. Now we have a nice matte for the logo and dropshadow.
5. Place the “Matte” clip on one track and the Logo (on black) clip above. Change the Composite Mode of the logo clip to Travel Matte – Alpha.
(6. Nest the logo and matte clip if you need to reposition them.)
Alternatively (and preferably) you could prepare the logo in Photoshop:
0. Load the logo image and unlock the background by converting it to a normal layer.
1. Select menu Image -> Calculations. Set Source 1 channel to Green and Source 2 channel to Red. Set blending to “Subtract” and Result to New Channel.
2. A new alpha channel will be created. Select this channel and invert it. This is the matte for the logo and dropshadow.
3. Swap the green channel into the red by selecting menu Image -> Adjustments -> Channel Mixer and set output channel to Red, Source channel Red to 0% and Green to 100%.
4. Save as a tif image with alpha channel.
Stephan
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[Chris Harlan] “If I’m working on Promos for three different clients next week, all from different networks, and my art documentary on the weekend–what does the event library get me?”
I would actually think that your “Art documentary” and any other projects that have a slightly more nonlinear creation process could benefit from the Event based library and the expanded metadata handling.
So if they had just kept “Projects” as the top level organizational concept it would make a lot more sense.
Stephan
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[Joe Campanale] “Randy Ubilious states legacy support wasn’t a priority”
Obviously iMovie legacy support was more important than FCP7 legacy support.
Stephan
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[Craig Seeman] “People who have only ever used pen and paper can’t fathom the typewriter in this case”
But that’s also because typewriters limit you to using one font at one size, and the workflow is decided by the machine not the person behind it. With pen and paper you can write with any style in any direction you want and even make drawings.
Sure one day the fcp-x typewriter may become a full fledged wordprocessor. But right now it’s not.
Stephan
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Oh, I wish I was fly on the wall in Randy Ubillos office right now.
And btw even we are in the news:
One forum over at Creative Cow has fanbois waving handbags at each other about the new look application. https://www.theregister.co.uk/2011/06/22/apple_final_cut_pro_x/
Stephan