[Tim Wilde]

I presume it is possible to lock a published Apple Motion effect. Since almost everything else — e.g., password-protected PDFs — can be circumvented, I was hoping someone might know a workaround. I realize there might be a thin line between IP theft and right-to-fix, but given articles like this one it looks like the plug-in biz isn’t very airtight.

[Tim Wilde]

Yes, I have split up resulting ranges so I could manipulate the speed, but my example was just the first one that came to mind, AND, that’s a lot of trouble to go to for something that should be easy. There have been numerous instances with their products where I have found them to be missing obviously needed controls. Crippled, really, and why? Their products demo and read well, and you don’t realize what’s missing until too late. If they’re trying to keep the product simple, offer an advanced user option that would reveal additional controls.

[Tim Wilde]

Thank you, I ‘ll give it a look.

[Tim Wilde]

Thank you, Simon!

I’ll try it.

[Tim Wilde]

I ended up at this thread with the same error message but in my case the cause was:

After sweetening in LPX I imported the resulting audio file into FCPX and aligned it with the existing video and audio. I then detached the original audio so I could disable it.

The next day, when I booted up and started using FCPX it started issuing the “missing…” warning every time I tried sharing or sending to Compressor. There was an exclamation point on the project icon. When I made a snapshot of the project as recommended in this thread, the snapshot also had the exclamation point.

The solution turned out to be simple: delete the disabled old audio track.

[Tim Wilde]

Thank you, Noah, Worx4 X sounds great if it actually works. Do you use it? I noticed somewhere in their descriptions that it cannot do its magic on multicam and compound clips, though they implied that one can break up compound clips to make them compatible. Don’t know if that’s applicable to multicam clips.

[Tim Wilde]

Pure curiosity, Mark.

[Tim Wilde]

Thank you for the reply, Joseph. I had read the Wikipedia piece prior to posting my question but it didn’t refer to any standards I recognize as applicable to video.

While 18% gray cards are a legacy item from still photography using film, there seems to be no shortage of references to 18% gray in the world of video camera color charts by companies like DSC Labs and Gamma & Density Company.

[Tim Wilde]

Thank you, Marc! Very kind of you to respond.

I had read Art’s article earlier today but he used Apple Color instead of Resolve. The curve pictured in his article looked like a perfect solution, but at the time I didn’t realize Resolve has a similar feature.

I’m unsure what you mean by “normalize the exposure so that the blacks, mids, and highlights are essentially neutral”. I shot with the color balance already set, so color temp just shifted the trace in the vectorscope off center.

I’ve since found that the primary and secondary buttons below the hue-hue and hue-sat curves allow the kind of smooth changes in hue and saturation you recommended.

[Tim Wilde]

Thank you, Jeff and Jeremy, for replying. So I won’t worry about a CPU hit.

But what about my primary question regarding workflow? Do you guys ingest, evaluate (look at various takes, mark favorites, etc.), and basically edit prior to applying the LUT to the timeline?