cseeman wrote:No. Hmm do you use macOS? This is specific to BigSur and Apple Silicon
Interesting. I thought that was the big thing for Catalina.
iPad Pro has had a keyboard option for some time and the new Magic Keyboard extends that to most typical laptop functions.
hat would be interesting, but it'd need a keyboard hookup
iPad Pro dropped Lightening. It now uses USB-C and there are hubs for it.
Lighting isn't really very incredible from what I understand.
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.
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 .
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 .
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.
cseeman wrote: Two year transition seems long though. I wouldn't want to buy the last Intel iMac or MBP.
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.
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.
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" ...
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.
You can actually download Simon Ubsdells Motion project
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.
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.
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.
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.