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Smesh replied to the topic 'Best Text tracking software for FCPX?' in the forum. 4 weeks ago

Sorry for the misunderstanding. I'm not looking for tracking callouts that are flat. I'm looking for something that will allow orbiting text similar to the example. The text is locked to points and the you can orbit around objects and the text perspective will maintain its location and will scale and change perspective depending on the angle. This type of text effect is becoming quite common in drone shots for example. Also the core melt examples I've seen look very low budget.

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Thanks.

Yeah I don't know how to use Motion. I only use plus-gins or sometimes outsource motion graphics if necessary. I'm looking for a plug-in so I don't have to buy and learn AE or learn how to use Motion. The tutorials for AE look pretty fast and easy, but I could not find any tutorials for Motion. That said, I would really prefer a pig-in. Thanks though.

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Hey everyone. I'm looking for a text plug-in for Final Cut Pro x that will track, but I also want it to rotate and scale. I have seen the Pixel Film Studios versions with tracking, but I do not see the option for it to rotate and scale on things like when using POI drone shots. I want to be able to add titles and descriptions for things like sky scrapers. Does anyone know of a plug-in that will do that? Also, I have used PFS plug-ins in the past with mixed results. Lots of crashing. Are they getting better?

This is a cheesy example but should suffice to explain what I want to do.



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Smesh created a new topic ' Color Finale is SUPER SLOW....AGAIN' in the forum. 2 months ago

So I abandoned Color Finale Pro long ago because it kept crashing FCPX on my iMac Pro and slowing it down like crazy. What's more, because they stopped support and forced an upgrade, if I needed to dip into an old archived project, I could not even use the plug-in anymore and had to grade from scratch.

When they came out with the paid upgrade, I was adamant I would not pay for it, or use it even if free, because of past experience. I was happy with the stock grading tools and got to know them well. I graded HDR and Wide Gamut projects. No problem. Fast and smooth.

When I discovered I could use Color Finale 2 to make my own LUTs though, I took the plunge and bought it.

It worked okay at first, although things seemed slow. Now, I have found projects super slow. FCPX has started crashing. Renders take FOREVER. I trashed preferences, made sure color finale was up to date and then my memory kicked back in. Man it sucks getting old. The CF plug-in is the problem. What's weird is that it doesn't even matter if you have it active in a project or not. Just having it installed in FCPX causes crazy slow downs. By uninstalling, FCPX works like butter using native color grading tools. With CF installed FCPX becomes mollasses in January. Maybe it's a RAM problem? I don't know but my base model iMac Pro will not run it well.

Is there any other way to create LUTS based on your grades in FCPX?

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I exported a 2.35:1 film from FCPX and am trying to upload it to Amazon. The mezzanine file is failing, likely due to the fact this is a 2.35:1 file and apparently there could be issues with the aspect ratio header flags. Does anyone know how to check and if necessary, correct the header flags so this will pass Amazon Prime quality control? At this point I don't even know why the video file is failing but I'm guessing it's because of the non standard aspect ratio. Thanks.

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Interesting. How did you manage to get it back on? I have no idea if I accidentally hit a shortcut to disable the clip, but it seems extra odd that I cut another clip in to replace it, and it suddenly disappeared again after a restart. Seems unlikely that I would accidentally hit that short twice in one day after years of using FCPX but who knows, Maybe it's new. I use V all the tie of course, but this was not used in this case.

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Well hell it just happened again with another chunk of the same track. Of course when I'm almost finished the project...

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So I locked the audio and was about to Strat color grading, then one of my music clips went dead. I checked all the settings, and everything seems okay. I also played the track in the browser, no problem. I then brought a duplicate of the clip back into the timeline and it played fine. I was still confused as to what happened with the first clip, so I quit FCPX and restarted my MacBook Pro. Now both clips are dead. Anyone know what might be causing this?



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Any time I download ANY wav or mp3 file, Apple Music app automatically launches and starts playing. I think Albo has it right. t's just been while and I forgot that solution. I just find it so invasive and annoying that Apple Music would be set up that way by default.

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Sorry for the misunderstanding. These are stock audio tracks from a service I use. I am able to download them, test them in my timeline and then only pay a license for the ones I end up using. They have nothing to to with iTunes, apple and I don't even use apple ,music or iTunes.

FCPX.guru wrote: Do you have rights to use these downloads you get from the iTunes store?

When I purchase music and download it, it doesn't play automatically for me. There is no setting in Music to turn that on or off.



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Okay everyone. This seems like a no brainer, and I think I had this figured out under iTunes, but for the life of me, I cannot figure out how to disable Apple Music from starting and playing every damn track I download to use in video projects. It's driving me mad! I tried googling but could not figure it out.

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Smesh replied to the topic 'Wide Gamut Worth The Hassle Over Rec709?' in the forum. 5 months ago

I forgot to mention the Rec709 FCPX bug. It's just a bug. One that I cannot believe has not ben fixed. If you search "Color Profile Override" and maybe Ninja you'll find the thread where I talk about it in here. When you record V-Log from GH5 to Atomos recorders, then import your ProRes clips into FCPX, FCPX does indeed interpret them as rec709 even if you import them into a wide gamut library and project.

To fix them you have to select all of the clips in the browser, then click on the "I" info button top right of the app and under one of the drop downs, find "Color Profile Override" and then choose rec2020 pq. You'll notice that all of the clips suddenly get brighter and the waveform changes to reflect the new values. I wish they would fix it. It could be a xml issue from the atomos, or it could be FCPX, wither way, one or the other MFGs could easily fix the problem. FCPX could read the atomos files and make the adjustment, or Atomos could label it correctly. The above is the work around.

Redifer wrote: My ProRes 422 HQ files ALWAYS come out as REC 709, at least that's how Final Cut Pro sees them. Not sure how to change this in the Atomos. Even when I make sure it doesn't record a 709 file, Final Cut sees it as 709 with no way to change it. Also I can change the Ninja V record settings to ProRes RAW and ProRes RAW HQ (interesting that there can exist a low-quality RAW, but OK). However it won't let me record. Maybe the SSD isn't fast enough? RAW is huge and the Ninja V says only 23 minutes of it can fit on the 500GB AtomX drive. The Crappy version of ProRes RAW says the same amount of time remaining.



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Smesh replied to the topic 'Wide Gamut Worth The Hassle Over Rec709?' in the forum. 5 months ago

Redifer wrote: Even when I shoot in VLOG on my GH5S (which is always, even though it kinda sucks and is SUPER noisy), I don't get much if anything extra if I edit it in a wide gamut Library (why must the entire library be wide gamut, BTW?). Highlights still clip at just over 100%. I dunno maybe I am shooting it wrong? I am capturing via an Atomos Ninja 5 in ProRes 422 HQ.


It's interesting you say that. I have had no issues with a GH5 running into an Atomos Ninja Inferno shooting in 422 HQ and 4k 60p 10 bit for everything. I shoot way over exposed compared to rec709 without clipping. On the last shoot I did, I had a second GH5s I used for my wide cam, running to a Ninja V, recording to 422 hq 4k 60p 10 bit to match the GH5s. The monitors both looked great when previewing in hdr. But then when I bring it all into fcpx, the GH5s and Ninja V combo, clipped my subjects great hair on top and I could not recover it. I though perhaps I missed the exposure, but I don't think so. I think either the ninja V does not display or record the feed accurately, or the GH5s handles something differently. I ended up selling the Ninja Inferno after the shoot, and honestly, I much prefer it over the Ninja V. I bought the ninja V because of the ability to do proves raw and for gimbal use, but they still have not enabled probes raw.

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Smesh created a new topic ' Wide Gamut Worth The Hassle Over Rec709?' in the forum. 5 months ago

Th last documentary I edited, it was shot to a an Atomos Ninja in V-Log and ProRes, edited in wide gamut, then exported to HDR. It looked great, but was a bit of a hassle.

I'm currently editing a longer doc shot with the same equipment and to same spec. I'm thinking of just editing and exporting in rec709 since it will be a lot faster to grade. It's my film so it's my call. It will be distributed online on platforms like Amazon, etc. and will eventually be up on YouTube as well.

Any dangers in exporting to rec709 distribution wise that I should think about? My gut says stick to the newer color space and then use a conversion lut for a rec709 option, but again, more work. What are most of you pros out there doing for color space?

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Hey everyone. I'm looking to hook up a 4k TV to my 16" MacBook Pro, but before I run out to pick one up, I'm curious as to what I need for dongles, etc. I understand that she dongles will not work, and HDR is a whole other issue, so if anyone can let me know what they are using for dongles/cables and how they set it up, it would be greatly appreciated.
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Smesh replied to the topic 'New 16" MBP: 32GB vs. 64GB for FCPX? Worth it to go 64GB?' in the forum. 8 months ago

Too bad we can't use the iMac Pro's monitor with another MBP. That would be a no brainer.
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Smesh replied to the topic 'New 16" MBP: 32GB vs. 64GB for FCPX? Worth it to go 64GB?' in the forum. 8 months ago

Well, Ideally, I would have been able to find and try a 13" MBP that would have worked in the field for story producing and doing rough cuts in Avid and/or FCPX, but when I looked at the specs of my retina, (quadcore 2.6 Ghz with 16GB Ram, 1TB flash, 2GB Graphics) I could not seem to quantify the 13" MBP would work. A 13" would be fantastic, since I often do work in the remote outdoors, hauling things in by backpack, in bush planes, boats and horses, etc. Plus I didn't want to buy a $3-4k MBP in addition to the iMac. If I could have an iMac Pro and a ~$1500 MBP I would do that for sure.Weirdly enough, I've already been looking at the imacs out there as I'm having buyer's remorse.
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Smesh replied to the topic 'New 16" MBP: 32GB vs. 64GB for FCPX? Worth it to go 64GB?' in the forum. 8 months ago

Thanks. I'll save that money for a display or my Flash Storage. Seriously thinking about going up to 4TB, since it's not that bad and would allow me to shoot and turnover a lot of projects without needing an external drive, and the speed would be light years faster than an external ssd. Am I wrong? I checked into some of the faster external ssd's and from what I could tell, they were more than internal flash storage.
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Smesh replied to the topic 'New 16" MBP: 32GB vs. 64GB for FCPX? Worth it to go 64GB?' in the forum. 8 months ago

Once in FCPX, yes. 10 bit files would not play via finder from what I recall, but I could play, scrub and edit them on the iMac Pro without transcoding. On my current MPB, I can't really do any of that, unless I convert to prores. Even then, once I add in a simple grade, it's pretty painful to work on when editing in 4k. The iMac Pro left yesterday. I am going to miss it. Probably should have sold my old MBP first. And perhaps what I should have done, is kept the imac pro and bought a 13" MBP for in the field. Ugh.
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