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Axel Schreiter replied to the topic 'Apple Keynote WWDC New FCPX and ARM processors' in the forum. 4 days ago

cseeman wrote:

Interesting. I thought that was the big thing for Catalina.

No. Hmm do you use macOS? This is specific to BigSur and Apple Silicon

hat would be interesting, but it'd need a keyboard hookup

iPad Pro has had a keyboard option for some time and the new Magic Keyboard extends that to most typical laptop functions.

Lighting isn't really very incredible from what I understand.

iPad Pro dropped Lightening. It now uses USB-C and there are hubs for it.

Watch this:

Summary is that Big Sur in many respects *b e g s* to be controlled by touches. We don't know the upcoming hardware yet, but the logical consequence would be obsolete mice. The video quotes Steve Jobs on vertical touchscreens, which were an imposition for the user. Therefore it's unlikely that we will see something like iMacs with touchscreens. Will we be gently forced to use our tracked eye movements together with gestures and shortcuts - could be the Apple Glasses, could be a double set of Facetime cams (here is looking at you!) ? Will FCP11 feel more natural on an iPad?


Axel Schreiter replied to the topic '10.5' in the forum. 1 week ago

Kenny_Park wrote: Wouldn't be at all surprised if it required Big Sur, since Silicon-optimisation seems to be why it's taking so long.

Wouldn’t be at all surprised if it were to become Final Cut Pro Eleven. How do you pronounce “XI” then (eggs eye or like the chinese emperor)?


domh333 wrote: Thank you, for your reply.
I feel im getting better results with slight adjustments to the adjustment layer, however it does look duller on my iMac in FCPX than it does on my hd TV even with my TV profile quite nutreal.
All learning and tweaking .

You will figure it out. I think that my LG OLED with the Technicolor setting has the best picture I have ever seen, anywhere, so I take this as my reference. Like you, I experience an image that looks slightly oversaturated (if I was going for a vivid, punchy style) compared to what it looked like on the iMac's display. Also I found that I sometimes crush my shadows a little too much. I watch the waveform for the shadows very closely and I create an Adjustment Layer in the end and lower the saturation juuuust a bit, and that does the trick for me.


domh333 wrote: Making a documentary but when checking versions on tv, say from youtube , it all seems quite vibrant and slightly over saturated, Im using an imac pro and have calibrated the display,
Any advice would be appreciated .

Four aspects that I'd like to address here:

1. Is an Adjustment Layer the best method to fix saturation golabally, for the whole project ? - Yes!

2. As you probably know, "illegal" saturation values exist, beyond the broadcast safe range that's represented in vectorscope by drawing an imaginary line between those R,MG,B,CY,G,Y boxes. Chances are - and I bet - that none of your colors even touches these borders. Saturation, whether it's muted or loud, is a look, a matter of taste and style.

3. You said you saw a very different image on various other devices. And that you felt unsure about the saturation. That shows that you don't have a good reference monitor. There is a theory saying that you should always use the *best* monitor as your reference. If it looks good there, it will look agaig everywhere else.

4. Your iMac Pro's display is very good for rec_709. It's own "native" profile is called "iMac" (or "iMac Pro" in the list). The utility app Colorsync knows that this profile is ninetysomething percent P3 and covers 100 % 709. So it's best to let this app do the conversion to your video colorspace for you.


Axel Schreiter replied to the topic 'Apple Keynote WWDC New FCPX and ARM processors' in the forum. 2 weeks ago

cseeman wrote: They did mention some "intelligent" function to keep the subject centered while he switched from 16:9 to a social media type frame dimension.

Yes, looks like content-aware trimming combined with tracking. Something, if it was just for the shown gimmick, I hadn't been holding my breath for. But the current FCP can't do this, so there must be a new version in the pipeline. Also, at some time I updated some native apps, and that was the time their icons changed appearance:
... like iTunes turned from blue to green or vice versa, and others. Seems to say that the app icons are stored within the app package.

cseeman wrote: Two year transition seems long though. I wouldn't want to buy the last Intel iMac or MBP.

Sure. I'm old enough to remember as well Rosetta as the Universal binaries. Back then, when NLEs and their computers were ridiculously weak and slow, nobody ever had a serious problem with the transition. Otherwise they wouldn't have chosen the same names. But I know exactly what you mean. I was really determined to buy a new iMac today. In comes Tim Apple and announces, well folks, there is some awesomeness on the horizon, but for the time being we'll sell you some Intel based iMacs waiting on the shelves, stay tuned for autumn!

FCPX.guru wrote: FCPX demo on new "Apple Silicon" was lame as all get out. They did what third party plugins do. This encourages the belief that they don't care. I pray I am wrong.

Please explain.


Bill thanked Axel Schreiter in topic Storyline 3 months ago
Axel Schreiter replied to the topic 'Storyline' in the forum. 3 months ago

May I guess? Music video?

I see a green clip (default role color for music) that appears to be connected to the *gap* in the primary storyline.

There are four clips with which the said gap has been overwritten, there is a secondary storyline containing long clips, and above that various shorter connected clips, some of which have a cinnamon role color, which isn't a default.

I just wonder.

With FCPX, there is no wrong or right. Anything goes, except when it starts to suck. Right now I see no purpose for the gap.

If you brought in your music track as the first clip with "q", it had automatically been connected to that placeholder/gap/slug/pause. From there on, as I see it, there are exactly two reasonable techniques to proceed:

1. Choose the gap, type ctrl+d (= change duration), then "1", then hit return. The gap now has the length of one frame, and the music track / reference audio stays connected to it. You can still use "e" (= append at end) because the next clips will go to the primary.

2. Activate the blade tool and hit "b" to the rhythm of the music, making numerous through-edits on your gap. Later on, you can easily select the portions and delete them ("d") with your browser clips. Tip: check the replace commands, customize them, they let you replace from start or replace from end without even selecting a range in the timeline, which you had to do everytime (with r, x or i+o) before you wanted to use d. You just need to skim over the clip / gap section you want to replace and then type "opt r", huge timesaver.

Now of course you already seem to be way in. No problem. Should take you two minutes to clean things up. First, of course, you could overwrite the grey sections of the gap (practically all) with final decisions of the "connected" clips (opt cmd down) Then, for whatever reason you created the secondary storyline, either keep it or break it apart. And so forth.


Axel Schreiter replied to the topic 'Keying out white backdrop' in the forum. 3 months ago

A luminance key has never been anything else but tricky, particularly in the edges. If you look at the image, you probably say, well, that can't be too hard, but unfortunately software is not yet as sophisticated as it should be. Since roto is what needs to be done, you will be faster with AAEs rotobrush.

Smart roto already exists, here is a peak preview from 2018:


The FCPX online user manual says about camera LUTs (here I have to translate from german, you may want to check in your language):

"Camera LUTs are applied library-wise and in first place before any other effect. As opposed to custom LUTs (or any other effect, for that matter) that are applied in the project, at any time and in no specific order" ...

Now, there'd be a lot to write about what that means. Two short answers:

1. A LUT in the *first* place of any changes acts like a filter. VLog will effectively be 709 video afterwards because all other values are cut off. You might as well have filmed in a video profile like Standard. On the other hand, if you are not very experienced or knowledgable regarding color grading, you can do exactly that: keep the camera LUT and slap on the MB Look LUT. Done ...

2. You can download a Vlog-to-709-LUT from many places, make it a custom LUT and still the first effect you apply. But then you put all other corrections for contrast, brightness, color balance and so forth before the LUT in the effects' list in inspector. That way you have access to every value beneath the LUT. After that (and as the last effect in the pipeline), you put Magic Bullet.


No instagram member, so I couldn‘t see that. Was that a solution?
Because I know AAE longer and better than Motion, I use it. I‘d think you could easily rebuild AAE animation templates in Motion, but then it‘s the same one-way and cul-de-sac. Unfortunately, with Catalina Adobe has unceremoniously shut down their Pro-Import, so there doesn‘t seem to be a direct way to open pre-composed compounds from FCP in AAE, unless you buy APP for this roundtrip workaround purpose alone (proposed as a „what‘s. new“ feature in AAE CC 2020).

So it isn‘t getting better at all. If it weren‘t for Mocha, I‘d cancel my AAE subscription now. Not into motion graphics, but if I were, I used Motion, and I rigged and published all templates for FCP, because everything else made little sense.


Axel Schreiter replied to the topic 'Audio Waveform Effect in Video' in the forum. 4 months ago

You can actually download Simon Ubsdells Motion project here .

But watch his tutorial before. If you want to make the bars react to, say, an actor's voice, you must change the source for the audio behavior within the project.


Axel Schreiter replied to the topic 'Invert colours???' in the forum. 5 months ago

No access to FCP from here. Isn‘t there an effect „negative“ or so that does this?

Speaking of inverted colors: is it just me or did the forum just turned white with a middle grey font? With black reply field behind space grey letters?

Not that there wasn‘t room for improvement before, but now you seem to be determined to start over with the worst case scenario...


A raw2log-LUT is a crutch, bringing down *exposure* manually clip by clip is also a crutch. PRAW doesn't let you correct WB after the fact. When you try to use the "Color Temperature" slider beneath the Wheels, you rather tint the image more orange or more blue.

In short: what's missing is a simple tool to interpret PRAW in the target color space. For the time being, that means absent a RAW module in Inspector, use the Color Board's Exposure and Color tabs. At least the values there aren't so completely out of range.

Axel Schreiter replied to the topic 'Clicking Sound between Clips / Cuts' in the forum. 5 months ago

Dear Festivals,
thank you for the interesting request.

Just tested it. Spliced together some clips with wildly different atmo in iMovie and opened the timeline in FCPX. No clicking there either.

Zoomed into the timeline to see what was going on. See attachment.

[File Attachment: iMovie.jpg]

There is a very short fade on either side of the audio. The lighter grey bar in the picture represents one frame, the fade is about a third of that frame. Since it was shot @24 fps, it means the fade only lasts 1/72 sec.

You can use that to your advantage. 1/72 in a 24p project roughly equals 0.0138 seconds. In FCP's preferences under Editing you can choose an audio fade duration of x,xx seconds, so 0,01 seconds (even a bit shorter) is the closest I could get.

Now I recommend the custom command alt + r to apply the audio handles. You can also select your whole timeline and put the fades on all audio across the board after editing.

That said, you sometimes need an actual transition instead of just a click-free hard cut. With the method above, the handles to extend the fades are only visible by zooming in to frame level. So I don't know whether I keep this preferences or not.

Axel Schreiter replied to the topic 'Clicking Sound between Clips / Cuts' in the forum. 5 months ago

Festivals wrote:

Thank you Axel,

that was very helpful!
And it works great.
It is just a bit more effort that I was hoping for. :-) Since I have quite a lot of these click segments...
I am really confused that in more than 200 Videos on Imovie I never realized that issue. And I usually pay close attention to the audio.
Is it possibe that Imovie is doing anything different or even better?


To be honest, I use iMovie only for vacation videos, where I shoot, edit and share on an iPhone. I did watch a few Ripple tutorials though, and for everybody in this forum who long ago dismissed the overly simplified and „primitive“ iMovie, here is news that you might have missed: it has really evolved. Works almost exactly like FCP now, perhaps because Apple wanted FCP to be able to read iMovie libraries and projects.

Your observation is intriguing. If iMovie applies audio transitions by default or cuts through silence on the subframe level ...

Do you know about Adobes „Rush“? It works on mobile devices as well as on desktop computers, and Premiere understands it‘s projects. It is, the name implies it, for rushes. Or for simple work.

What‘s very interesting is that it has no video tracks, only connected clips. It has audio tracks though (up to three, including the camera audio). You can‘t apply an audio transition to camera audio there. It didn’t occur to me when I tried it, but they also must have implemented a way to avoid the clicking.

Ben thanks user 'Axel' in the forum message ' Clicking Sound between Clips / Cuts'. 5 months ago
Axel Schreiter replied to the topic 'Clicking Sound between Clips / Cuts' in the forum. 5 months ago

That's because you cut through an outgoing or incoming noise in the sound. Nothing wrong with your FCP copy. To fix it, you need to create an audio transition. There are several ways to do this. The easiest one, if you also have Motion, is to open an FCPX transition there - and just save it as (i.e.) "Sound Only". It will appear in the transition tab, and you make it your default transition by right-clicking on it, then it's automatically applied with cmd t.

The official method affords more steps but usually also delivers better results: expand the clip-audio by double-clicking on the clip, extend it so that it overlaps with the adjacent clips. Then you go >Top Menu >Modify >Adjust Volume >Apply Audio fades . Since you will use these fades constantly, I recommend you go to >Final Cut Pro > Command s>Customize and assign shortcuts to these actions.

Hope this was helpful.

Thank you, FCPX.guru !
So easy, should have found out myself.