[Tom Meegan]

I understand budget constraints. For sure.

However, I believe your license for a single clip or for the set covers uses into the future. If you buy the set you are essentially getting a tool kit not just for this project, but many projects.

I view buys like this as investments.

Here are some plug-ins that might help.

https://www.kenstone.net/fcp_homepage/review_2_plugins-ned.html

I don’t know of any similar clips.

I will babble a bit about how I would try to simulate it though, if the project has much more time than money!

If you have Motion, apply lens flare effect and blur effects. Play with parameters and keyframing. Maybe do this over a piece of black video until you get something that you like, and then screen the result over your original video.

You might also play with the video generators in Motion. You might find something that mimics the characteristics of the “burn.”

You can also get some good lens flare effects for within FCP from http://www.nattress.com. These filter sets have been worth the investment for me. These applied to a slug, keyframed and blurred might give you something to work with. Screen (composite mode) the result over the original video.

I’ll bet Knoll Light factory and some tweaking and creativity might give you a good result.

https://www.redgiantsoftware.com/knolsec2teso.html

But, I also understand the need to stay on a budget.

There are probably a bunch of ways to simulate this. I might play around in After Effects as well, if I wasn’t satisfied with the results I was getting in FCP or Motion.

Best,

Tom

[Tom Meegan]

I would suggest using stock footage like Artbeats Film Clutter and composite modes to achieve this look. While it is fun and instructive to play with filter and layer cocktails to get an effect like this, sometimes real footage can be the best answer.

Tom

[Tom Meegan]

You are very welcome, Joseph!

Tom

[Tom Meegan]

If it does turn out to be Pixel Aspect Ratio (PAR) and if you need to change it on the clip…

Click the clip in the browser and hit Command – 9.

About halfway down you will see a category called Pixel Aspect.

Right click (or Control-Click) on the attibute and choose the correct pixel aspect ratio.

An explanation of the choices is a bit beyond the scope of a post here. Just match the description of your sequence settings

[Tom Meegan]

https://www.kenstone.net/fcp_homepage/24p_in_FCP_nattress.html

Here is a great article on the subject by Graeme Nattress. It should help.

Tom

[Tom Meegan]

The audio that is playing in the time line is probably part of a render file.

Go into the folder where your renders are kept and do some investigating. Don’t move or delete anything until you have identified the files that can help in your recovery.

When you do ID files that you would like to keep, write down their names and a description on a piece of paper.

When you are done, create a new folder within your normal organization scheme, and then Option drag the files you want to use for your recovery from the render folder to the new folder. This will copy the files, leaving the originals where they were.

Now use your paper notes to rename the copies appropriately before you import them into your project.

Good luck.

Tom

[Tom Meegan]

Click on one of your clips in the browser and hit Command – 9.

Take note of all the settings. If I’m deep in trouble shooting mode, I write them all down.

Click on the time line window, with the sequence in question active, and hit Command – Zero.

Compare and contrast.

It is likely that your footage does not match the sequence settings. Change the Sequence settings to match the footage. Or, if for some reason you need your footage to conform the the sequence…

Double click on the clips in the time line to load them in the viewer.

Click the Motion tab in the viewer.

Adjust the size of the footage to suit with those controls.

This will degrade the quality, and generally isn’t a good idea unless there isn’t a choice.

Good luck.

Tom

[Tom Meegan]

X to mark in to out
Option-A to select in to out

Use Auto selects to determine what layer the X command works on.

Tom

[Tom Meegan]

As Soon As Possible.

Best,

Tom

[Tom Meegan]

Save the project file to another disk. The original clips in the browser contain all of your capture/digitizing information.

Tom