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Zardozer replied to the topic 'Wide Gamut Worth The Hassle Over Rec709?' in the forum. 3 months ago

Hi guys, not sure if you've seen this setup video with the Ninja, but he goes through the settings to map to HLG or PQ when recording. Basically, you don't want your log curve mapped to 709. Obviously, this doesn't apply to raw.
www.youtube.com/watch?v=SRCi6fjGK1Q

Yes, make sure your project library is one of the wide gamut HDR modes (HLG or PQ). Also make sure in your clip settings that final cut hasn't automatically applied a LUT clamping down to rec 709. Most of the time, if it detects log for the clip, it will automatically do this.

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Zardozer replied to the topic 'Media & Cache on shared storage network' in the forum. 4 months ago

Wow, thanks to everyone for troubleshooting this! I thought we were all going crazy. Every once in a while we would have a disconnection, or the library refused to save. Our storage is connected through SMB. I THINK we mitigated the problem somewhat by pointing to the cache to a different subfolder whenever we switched machines.

It's crazy because Apple has broken SMB several times over the years, and they often don't communicate how they're changing the implementation. Whoever's in charge of this needs to be fired.
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Domscillator wrote:

Final Cut Pro has a huge marker in the YouTube community and independent filmakers. If you send me an audio file cut in FCPX and all to edit in ProTools or Wavelab I am unable to do anything about this if there are clicks due to the destructive audio editing process in FCPX.

I don't doubt your knowledge of audio, but we've sent audio out to pro tools for additional editing/mixing many many times without issue (usually with 2 or 3 seconds of handles). Our cross-fades are usually done with the fade handles, but it could be keyframes or the fade transition. Perhaps you're looking at things from a very technical audio guy perspective, and obviously there's always room for improvement, but all I care about is: does it sound good, and can I achieve the effect I want? I can get like 90% of what I want in the timeline, and then the rest can be polished by the real audio guys. Not a problem.
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Zardozer replied to the topic 'Collaborating on a project from different locations' in the forum. 6 months ago

I'll add my 2 cents about what we do. As others have noted, the best way to collaborate is to use lean libraries, meaning that the cache and all media live outside the library, on external storage. We use a nice free program called Post Haste to create a folder structure for every new project. You can do this manually of course, but we like this program because it automates everything and keeps things consistent.

We also just transfer libraries like Joema suggests, but often we just send our latest libraries back and forth... we call them 'project libraries' because we use them just like FCP7 projects or Premiere project files. We version them, send them around and usually tag them with our initials. Since all media and cache are external, these files are small.

If someone sends their library via email or whatever, you can open it up. Make an event in that library called something like TRANSFER, and copy whatever you need to transfer into that event (often this is an updated timeline). Then open your own library and drag that TRANSFER event over. You should now have your collaborator's timeline in your own library, and it should link to all the media that's in your own library if they are the same. If there's new media, you won't have it obviously and it will be offline until you receive it, put it into the right place in your external folder structure, and then relink it.

This all works whether you have a remote collaborator or something like an assistant next to you handing over stringouts or whatever. If someone is doing keywording, tagging, organization, you'll be able to merge it back using something like MergeX.
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Zardozer replied to the topic 'VR viewing in FCPX' in the forum. 6 months ago

What version of the Vive? Original? And what version of the base stations? I've heard that the new versions of the base station 2 does not work on Mac at the moment (and who knows if they will support it). But I can confirm that my setup still works with the original base stations, HTC Vive and the latest FCPX 10.4.7.
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Yeah, it will auto-apply certain LUTs on clips to bring it to Rec 709 at import depending on what it detects. It's meant to do that so you can quickly preview footage in a linear color space, and I suppose it doesn't move it to wide gamut because people are unlikely to be able to preview it on a wide gamut display... either that or they just overlooked it. Personally, I think it's an annoying feature, but it takes a few seconds to change it so I don't care too much. There should be a checkbox in the import window or in preferences to turn this off, though.

The Inferno as far as I know can display HDR, so that's why you'd be seeing it properly. On the iMac Pro you'll be getting the tone mapping which is throwing away tons of data to push it into a standard dynamic range. Remember that the iMac Pro display has expanded color, but it's not HDR. I mean, it could be a bug with how the tone mapping is happening, too, so it's hard for me to say without seeing it all.
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What are you actually viewing the footage on? The iMac Pro or an external display capable of wide gamut and HDR? If just on the iMac, using 10.4.7 with Catalina enables tone mapping so you're supposed to be able to "reasonably" see your wide gamut HDR footage on a regular display without puking. But I doubt that it's perfect, and it's not supposed to be a substitute for a proper display for grading. It's only meant for you to say, 'wow that's not completely messed up.'
Finally, I would beware of something like a rec 709 conversion LUT... I would only use something like that for rough viewing purposes. Depending on what it's used on, it can clamp down hard on highlights and kill shadow detail. Hard to say because you don't say what format is your footage (my guess is some kind of log to some kind of ProRes since you're using the Atomos).
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Zardozer replied to the topic 'New Update pushing footage into extended range IRE' in the forum. 8 months ago

You should be able to file a report in the normal way, in the menu Final Cut Pro->Provide Final Cut Pro Feedback. Please do so for bugs like this, the more reports the better.

I did notice that there was an update to Pro Apps support that went along with the 10.4.7 update, where they'll update support for codecs. Perhaps the bug was introduced with that. Are you running 10.4.7 with that update?
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Zardozer replied to the topic '3:2 Pulldown removal makes video jitter -> How to fix?' in the forum. 10 months ago

For the reverse telecine option to appear (under the Quality sections, the menu for 'retime quality'), you have to specify "Progressive" for field order. Make sure you're also converting to 23.976 (or 24 if you're doing that). This is all under the Video tab, after you apply compression settings.

Your original footage with pulldown needs to be 29.97 with top or bottom field order, and it needs to have actual 3:2 pulldown on it, so make sure Compressor is interpreting it right also. You can change how the footage is interpreted by clicking on the name of the clip in the job window, but if your clip has correct metadata, it should automatically know this.
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What are the characters watching on TV? In office, in a break room or something like that? And it's just normal broadcast TV?

I don't know if the other poster was misremembering, but 16x9 CRT TVs were not really that common. Certainly, most offices depending on the type of company would not have them. They would most likely just have a normal 4x3 CRT TV. What type is up to you... I would think about it in storytelling terms. It's a prop that can help tell the story after all. Is it a high-end ad firm in New York? Maybe THEY would have a fancy 16x9 flat Trinitron CRT tube, or even an early HDTV. Is it an old-school plumber's office with a similarly old-school, old tube? Does the office have cable, satellite (so pretty much a clean picture), or just rabbit ears or an indoor antenna which could have transmission problems at times?

You should think about putting a green signal on the TV (with cross marks to help tracking). Then, comp in the screen later. This is often done, especially for extended scenes where people are watching TV. This is because it's very difficult to maintain continuity in the playback of the TV while you're shooting the actors in different angles. This is why you often see kind of questionable comp jobs even on high end shows. I've seen it done well, and I've seen it look really fake. The details matter a lot: reflections on the screen, the subtle curvature of the tube if it has any, the "bloom" of the CRT phosphors.

If you choose to shoot the actual program playing on the TV, be aware that there could be flicker issues if your shutter angle is not in sync with the refresh rate of the TV. Most high end cameras have a 'clear' mode that lessens this flicker. Of course the DP should be aware of this and take care of it (not to mention the exposure difficulties of CRTs that often appear very bright and could easily blow-out).
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Zardozer replied to the topic 'RED footage export for grading' in the forum. 10 months ago

It sounds like they want to simplify it and take one single ProRes 4444 file and have DaVinci to an auto cut detection to create separate clips. This is a totally fine way to do it, although it robs you of some of the flexibility of an xml transfer.

Your clips probably have a LUT auto applied, because as you say it's being interpreted as red log. Select the clips, go to the inspector in the metadata tab "I", make sure you're in "settings" mode in the pull-down window at the bottom, and put the LUTs to "none". From there you should be able to export it as a single ProRes 4444 file and bake the log into it.
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Zardozer replied to the topic 'FCPX Is applying a LUT to my Footage on its own.' in the forum. 10 months ago

You have to select the clip in the browser, click on the "i" tab and you'll see the window that Ronny indicated. t the bottom left of the window is a drop-down box, make sure you're in "settings" like in the screenshot. You should then see those options. You can select all your clips and change them all at once, also.
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Zardozer replied to the topic '3:2 Pulldown removal makes video jitter -> How to fix?' in the forum. 10 months ago

Trying matching back to the clip, and moving the in point a frame forward or back, and then re-cutting in the clip. You may have to go two frames forward, depending. I've found that clips with pulldown will usually go into a 23.976 timeline correctly if the in-point is on a correct A frame. So if you get the cadence right, it should slot in properly.

The other way as joema mentioned is to pre-process the clip through compressor and do a reverse telecine to remove the pulldown.
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Zardozer replied to the topic 'What Plugin can make an Ad like this?' in the forum. 10 months ago

arc wrote:


When you say weird easing movement are you referring to to linear VS bezier as seen in the video link below? Having said that FCPX can key-frame just fine.

youtu.be/EDb1qrCwiGQ

What I mean is: try to do manual keyframing of a Ken Burns movement, for example. Let's say you want to keyframe the scale and position at the same time, so moving from from one point in a photo to another point, while zooming in (scaling). You can keyframe all of this... but you can't control the easing of the scaling parameter. It does some sort of built-in easing, but you have no control of it. Worse still, the scaling easing is out of sync with the positional easing (where you can change from linear to smooth). Also, you have no control over the curve of the "smooth," so in fact you can't change that bezier curve.

If you use the Ken Burns tool (or use "cropping"), the movement looks great. But if you try to keyframe this, it will result in a very weird curvy move at times. It's funny, I've seen it a lot on Youtube videos, and I know exactly what causes it.

When you do quicky motion graphics stuff directly in FCPX, it's often best to use the excellent batches of movement behavior plugins that exist out there. They're very easy to use and the results are quick and great. However, if you try to add some manual positional keyframing, be aware of these limitations I mentioned above.

It's all very strange to me that they haven't fixed keyframing in FCPX after all these years. Pretty much every aspect of the program is great except for this. It's all the more puzzling since you DO have all that control in Motion. And Resolve basically copied the keyframing interface, but made it actually work right!
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Andy K thanks user 'haysoos123' in the forum message ' What Plugin can make an Ad like this?'. 11 months ago
Zardozer replied to the topic 'VR viewing in FCPX' in the forum. 11 months ago

I have this exact same setup (D700 with HTC Vive) for doing VR work, and it does definitely work. You need to install Steam VR through Steam for Mac. Plug it in the HDMI port and one of the USB ports (and power). Run FCPX and select Window->Output to VR Headset, and it should load Steam VR and it should output to your headset.

The ONE catch is that you may want to use an older version of Steam VR, because recently they broke something with playback, and you might get black frame flashes. I did archive this older version that is confirmed to work, so if you want it message me. Basically you have to install Steam VR normally, and then overwrite it with the older version. Also, avoid running Steam or it will auto-update (just activate Steam VR as above from within FCPX). Now, it's possible that they have fixed this bug by now, but I haven't checked lately.
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Zardozer replied to the topic 'What Plugin can make an Ad like this?' in the forum. 11 months ago

If you bought that transition pack already and are learning FCPX anyway, I would just go ahead and do it in FCPX. I like and use Motion, but FCPX can easily do exactly what's in the ad. There are some subtle things you might want to be aware of, like motion blur. To get that in FCPX, you either have to export a motion blur as an adjustment layer from Motion, or you can download one of those free motion blur plugins out there (do a search).

FCPX's one weak point is keyframing, so that transition pack will be very helpful. There is keyframing, but it can be wonky. For example, keyframing scale and position can result in weird easing movement.
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Zardozer replied to the topic 'Artist.io' in the forum. 11 months ago

We have used Artlist.io for several projects, and the licensing model is pretty clear and simple. You can read about what it is exactly on their website. It's royalty-free in perpetuity for any project you create, and any project you create for a client. So it does cover the client, but the client cannot of course take that music and put it in something else. Why would you need anything else?

If for some reason the client wants to use that music on their own on something else, they would have to subscribe. Personally I think the library is pretty good, although their search needs to be able to be more detailed. It's certainly a really good deal at $200 annually.
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Unfortunately not a lot of us here are sound engineers and can give you a good answer. I would love to pick the brain of whoever wrote that in their guide, though. It does seem to suggest that the MXF export automatically does a downmix attenuation. It doesn't really make any sense to me why it would do that, though. A google search also didn't turn up anything about it either.

I would defer to whatever came out of the Pro Tools session and not mess with their mix. You should check that the ProRes file isn't doing any weird auto attenuation by bringing the export back in and checking the levels against your original sound files. Last time I did this, I didn't notice any auto attenuation.
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