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Dan Wierling replied to the topic 'Why do I have "Missing Files"?' in the forum. 12 hours 47 minutes ago

Yes, what Francois said. In addition to that, it might be possible that you disconnected the media before it was completely finished importing.

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Dan Wierling replied to the topic 'Fade In all Tracks not just video element' in the forum. 2 days ago

There are a few free plugins to do this very easily. Cineflare has a free Cineflare Fader, and here is one posted in this forum by Danjocross in 2015:

File Attachment:

File Name: FadeAllLayers.zip
File Size: 456 KB


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If you want perfectly smooth crawls create your text in an image editor and then overlay it in FCPX and keyframe the movement from offscreen on the right to offscreen on the left. Simple to do, fast and works perfectly.

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Dan Wierling replied to the topic 'UpRez'ing a bitrate' in the forum. 2 weeks ago

They are saying 220 Mbps because that is the approximate bitrate of Prores 422HQ with 1080 frame size and 29.97 frame rate. This varies depending on the complexity of the video footage and other factors. I believe submitting what you have in 422 HQ will be acceptable. Here is Apple's current white paper on the Prores codec : www.apple.com/final-cut-pro/docs/Apple_ProRes_White_Paper.pdf

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Dan Wierling replied to the topic 'Setting Audio Fade to Linear by Default?' in the forum. 3 weeks ago

Idustrial Revolution makes a free plugin called XEffects Fades that may be helpful. It is an effect that once applied to a clip allows you to choose between linear, bezier, +3db, and -3db and comes with many presets from 1 sec to 10 sec, and 1 frame to 12 frames.
idustrialrevolution.com/products/xeffects-audio-fades

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Try creating a new admin user on your machine and log into that account. Then try FCPX and see if the issue is still there. If that solves the problem, post back. There are procedures for restoring your user account.

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Dan Wierling replied to the topic 'New User* Fade to color dissolve is not long enough' in the forum. 1 month ago

If the clip lacks sufficient media handles, you can retime the clip to make it longer (by slowing it down just a bit) - enough to add 8 or 10 frames at each end, so you can make the dissolve longer.

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Dan Wierling replied to the topic 'Timeline and export same as Imported Clip?' in the forum. 2 months ago

Stu Wart wrote: with such a frame rate ... of course it's rendering !


A frame rate (even an odd frame rate) will not cause FCPX to render. This only happens if the background render setting is invoked via preferences, in which case FCPX will render the entire timeline whenever activity is paused.

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Dan Wierling replied to the topic 'Is "Original Media" Folder Contents Necessary?' in the forum. 2 months ago

The purpose of optimized media is to allow smoother editing playback on machines that cannot efficiently process the original media. While ProRes optimized media is much larger in file size, it is more efficient for your system to decode than some original media may be, especially highly compressed footage like h.264, so it provides this benefit when playing back and editing. Although it is relatively lossless in visual appearance, it is no better quality (and possible slightly less) than your original media. For color grading, if you can't use original media, then optimized would likely be better than proxy files to judge critical grades. In this case, you can switch the FCPX viewer to "better performance" while cutting, and then to "higher quality" when color grading - with original media if possible.

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Dan Wierling replied to the topic 'Timeline and export same as Imported Clip?' in the forum. 2 months ago

The reason it is rendering is because you have "Background Render" turned on in the FCPX preferences (up in the menu bar). Turn that OFF.
In Compressor, choose a preset for MP4 H2,64 and customize the bit rate in the video panel. You should be able to set any custom size desired. You can share (export) an MP4 file in FCPX directly using the computer share setting but you can't customize the bit rate (especially if you want it that small).
Finally, nothing in FCPX automatically brings a file up to ProRes 422 unless you choose to optimize the file on import (which is selectable in the import window), in which case it would create a ProRes 422 file.

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Dan Wierling replied to the topic 'missing Logic Pro X and GarageBand music' in the forum. 2 months ago

There is a workaround to enable FCPX to show GarageBand Loops. Here is a Ripple Training video showing how to do that:
www.rippletraining.com/blog/final-cut-pr...eband-loops-in-fcpx/

As for Logic Pro X, there are ways to create aliases and place them in the appropriate path so FCPX sees them, but I seriously doubt you'd want 45+ GB of sound files and loops populating in your FCPX sound library.

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Dan Wierling replied to the topic 'Colors look extremely saturated after export.' in the forum. 2 months ago

Generally, if the FCPX viewer looks correct and the exported file is oversaturated, this tends to be a gamma issue. As mentioned above, knowing what you are viewing the exported file on is helpful in analyzing the problem. This can happen easily in Divinci Resolve also, but there are more options in Resolve to match output gamma curves of the playback display to the viewer. In your case, using FCPX, I would check the color profiles of the display you are playing back the exported file on. If it is the same Mac screen as FCPX is running on, check your display preferences in the OS preferences. You can remove, modify or repair any color profile that may be set for that display. As another form of test, share a still frame from FCPX and likely that will look oversaturated as well. If so, the color profile is probably damaged or incorrect.

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Joni thanked Dan Wierling in topic Can't find media 2 months ago

I would definitely check your internet upload speed. 10Mbps is fairly low, and testing on something like Speedtest.net with the appropriate server may reveal even lower speeds. We do live streaming for clients often and find 15Mbps uploads are generally satisfactory, but 20 to 25 Mbps is much more reliable. Plex also indicates your problem could be that the CPU in your computer may not be sufficient to stream your content (this according to their online support FAQ's). Maybe try a smaller file bitrate for the h.264 file, or a 720p file to test with to see if there is improvement.

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Dan Wierling replied to the topic 'keeping optimised media as main media' in the forum. 2 months ago

You might consider whether you really need to optimize media at all. Unless you are unable to smoothly edit the original footage, optimized media is not necessary. In addition, the original footage clips will be smaller in size and at the best possible quality (even though optimized media is generally relatively lossless). You can always transcode to optimized media in the future if you need it.

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Dan Wierling replied to the topic 'Can't find media' in the forum. 2 months ago

The alias files would indicate that when you originally imported media into your library, you chose to "leave files in place" instead of "copy to library". That selection appears in the import window of FCPX. So likely your original files are on an external drive, in some folder perhaps on your system (maybe you moved to a new location), or even off a camera card that is no longer in your card reader. The large library size could be due to a number of reasons - generally optimized media, but also a combination of render files (particularly if you have FCPX set to do background rendering), and/or analysis files that are created with the use of optical flow and stabilization. If your original media is missing your timeline and browser would show the red "missing media" icons for those clips, and by selecting them and choosing to relink files, it will indicate the location they were previously imported from. Hope this helps.

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Dan Wierling replied to the topic 'Title MISSING after being exported from Motion.' in the forum. 2 months ago

The only workaround I can think of to enable you to use your title in your FCPX project would be to fully create the title in Motion, then export a movie file out of Motion and import that into FCPX. The title will be baked into the movie, so any version of FCPX would play it. Obviously you'd have to create and export every title you want out of Motion to bring into your project. Without compatible versions this is one way to make use of the Motion title.

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Sam thanked Dan Wierling in topic More Export Options? 2 months ago
Dan Wierling replied to the topic 'More Export Options?' in the forum. 2 months ago

It appears that you have already identified the limited options in FCPX for exporting. If you have the Compressor app, this will allow the fine tuning of parameters you are asking for. You can either send your project timeline directly to Compressor, or create a full resolution Master Video and then import that to Compressor. If you have no need to retain a full Master of the video, then simply using the "send to compressor" option will save space in addition to offering the ability to tweak parameters. FCPX is primarily an NLE which offers export options of full masters and a variety of deliverable formats, but it is not a compression application.

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Dan Wierling replied to the topic 'Puzzling Blank Viewer' in the forum. 2 months ago

I assume you have a clip in the timeline and your playhead is over it. If so, and the viewer is still blank, try clearing your FCPX preferences. Restart FCPX while holding Option and Command keys and choose to delete prefs when asked.

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Accomplishing exactly what you want to do may be difficult or even impossible. Yes, the top clip will override clips beneath if the compositing is set to normal. Try selecting other composite modes for clips in the stack such as add, lighten, screen or overlay to see if you can get a useful image. You can also try to disable one or more clips in the stack above the timeline - if you made a compound clip, open it and disable it or change compositing for just the clip within it, and not the transition. You may find by experimenting you end up with something close to what you are looking for - but then again, maybe not.

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In FCPX, click the clips (before and after the desired transition) and hold option key and drag them above to create an additional instance of the clips. Repeat a second time - then you have 3 instances in the timeline. Apply desired transitions to the clips in each stack. For simplicity, select all (6) clips with transitions and create a compound clip by choosing Option-G. Now you have a single compound in the timeline with (3) different transitions all occurring at the same time. Might not be the most elegant solution, but one way to accomplish it.

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Dan Wierling replied to the topic 'App Store, Catalina and FCPX' in the forum. 3 months ago

jolipoli wrote: The email address for the AppleID is not relevant to this discussion if you are logged in and can go to the Purchased section for your logged in App Store account.


You are absolutely correct. I didn't mean to highjack this thread. I clearly did take it off topic.

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Dan Wierling replied to the topic 'App Store, Catalina and FCPX' in the forum. 3 months ago

Hi Tom...I did some digging in my email archives as I have saved most of the Apple support communications I have had over the years. I found that when I had purchased my iPhone 4S in 2012 I was still using the non-email Apple ID and at that time downloaded many apps on my phone and desktop. I also found that I had contacted Apple about the change to an email address in November of 2013 at which time I relinquished my non-email ID and changed it to an email address. I believe the email addresses were able to be used as Apple ID even in late 2011, but they weren't required to be email addresses until sometime in 2013. It was required to have a valid email on file with Apple, but the actual ID could be anything. Below is a screenshot of my support call in one instance where I downloaded the Pages app on my Mac Pro using the non-email ID. In fact, I have downloaded Numbers, Keynote and others all using that non-email ID.



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Dan Wierling replied to the topic 'App Store, Catalina and FCPX' in the forum. 3 months ago

Tom Wolsky wrote: I think purchases in the App Store were always e-mail address Apple IDs.

I believe for a time after the transition from the iTunes store to the App store the non-email address ID was still useable. Here is a Apple forum thread that was similar to my situation:https://discussions.apple.com/thread/7643962

And, here is Apple's history of the App store: www.apple.com/newsroom/2018/07/app-store-turns-10/

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Dan Wierling replied to the topic 'App Store, Catalina and FCPX' in the forum. 3 months ago

Tom Wolsky wrote: I don't know what means. The Apple ID is an email address.

Just so you know (and maybe you do), the original Apple ID's were not required to be email addresses. For years (around mid 2000) I had an Apple ID that was a name of one of our studio locations. At some point (around 2010 or 2011 I think) Apple changed the requirement that all Apple ID's must be an email address. I worked with Apple on the phone to reconcile my previous purchases under the non-address ID and have them recognized under the email ID.

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2.35:1 and 2.39:1 are actually fairly common and current aspect ratios for widescreen film. If the project was edited and mastered in these aspects (as opposed to inserting black bars to make it that way) then you can test this on YouTube. Make it private to test if you don't want public visibility. YouTubes small window may show it with black bars, but when you switch to theater mode you should see the full video with the 2.35:1 aspect correctly displayed. If it works there, then likely Amazon doesn't support aspects other than 4:3 and 16:9. If it's not correct in YouTube, then provide details of the project setting used to create it.

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Dan Wierling replied to the topic 'editing clips within the browser' in the forum. 3 months ago

I am quite sure that you probably have opened the "precision Editor" which is different than opening a clip in its own timeline. The Precision Editor is opened when you double click the edit point between two clips, and that can happen easily if you are editing quickly. Here's Apples document on that: support.apple.com/guide/final-cut-pro/us...itor-verc1fac344/mac

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Dan Wierling replied to the topic 'FCPX Crashed - Can't Open Project File' in the forum. 3 months ago

Even without Final Cut Library Manager you can still delete render files within FCPX. Select the library and in the FCPX menu choose to "delete generated library files". This will delete render files and other analysis files. Selecting the project or event and choosing that will delete just render files from those areas. If that doesn't work, try Digital Rebellion's Pro Maintenance Tools to repair a corrupt project or library. I believe there is a free fully functional trial period and it works well.

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Dan Wierling replied to the topic 'background tasks not complete message' in the forum. 3 months ago

The message must be looking at something else in the timeline that has optical flow, even though you are trying to export a clip without it. Optical flow is never available on a clip that is not retimed and only appears selectable when retiming is active, but the message bug can appear I believe if the project ever contained any retiming. Trashing the cache is not that brutal, but if you have many clips (especially long ones) with optical flow in your project, they will all have to have it reapplied after doing so, and maybe that could be brutal.

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Dan Wierling replied to the topic 'background tasks not complete message' in the forum. 3 months ago

I ran into this exact issue this week when retiming some time lapse work with optical flow. After waiting about 10 minutes with no resolution, I exported anyway, and the resulting file looked fine. The only way I was able to remove that message was to find the cache folder for that library (which was stored on an external drive) and drag it to the trash. Then, when opening that project, I had to reapply optical flow and it completed successfully with no error message on export. I should add that the exported file (after removing the cache) looked no different than the exported file before removing it. I think this is somewhat buggy behavior with optical flow and in my case it occurred after applying it, and then retiming and trimming the same clip a few different times. Seems like the analysis gets a bit lost or confused when doing that. Maybe it's best to get the clip completely trimmed and retimed how you want it, and only then apply optical flow to it. This does not seem to be a consistent problem, but it does occur every now and then (at least for me).

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The latest Pro Video Formats V2.11 can be found here:
support.apple.com/kb/DL2020?viewlocale=en_US&locale=en_US

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Dan Wierling replied to the topic 'Customised Title very slow? Memory issue?' in the forum. 3 months ago

Did you change the render and quality settings from the original when you published it?

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Dan Wierling replied to the topic 'Rendering issue - Cold color' in the forum. 3 months ago

To me, rather than looking colder, the exported version appears to be a bit less saturated and has a contrast difference. Did you export in a compressed format? If so, can you try exporting a Prores Master file and see if the image looks more like the preview?

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Dan Wierling replied to the topic 'Ingesting a DVCAM recording without the timecode' in the forum. 3 months ago

I am quite sure that those breaks are dropouts in the tape. Quicktime will stop recording when those are detected, while final cut will continue but make a new clip. We see this a lot when transferring older 8mm tapes and I suspect DVCam, while it is a much better format will suffer from the same thing, especially if the playback deck is a consumer version. In fcpx, once the capture is completed and you have several clips in the browser, you can select them all at one and drag to a timeline. They will be in order and you can master your final movie. You might have some audio sync errors, so worth it to scrub and check. You can avoid a lot of this hassle if you use the S-Video output of the DSR11 instead of Firewire, but you'll need to run that into a DV converter with internal sync or TBC and feed your computer with the Firewire of the converter. Better option would be to use the analog signals of the deck into a BMD Intensity Pro 4K or similar device - but this depends on what computer you are using.

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Dan Wierling replied to the topic 'MacPro G5 (Power PC) - what is it good for?' in the forum. 4 months ago

As far as it being useful, we have a couple of these that serve strictly as media conversion systems since they include firewire ports (useful for BetaCam, VHS, 8mm , etc, transfers) when we don't want to tie up our main Mac Pro system. We also just bought a used iMac (a bit newer but not by much) for the same purpose. For larger quantity conversions we use those (3) machines along with our Mac Pro and BMD Intensity Pro 4K card to capture (4) tapes at a time. The G5 is commonly available on eBay for anywhere between $200 and $500. Be sure to change the battery before it leaks!

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Dan Wierling replied to the topic '10.4.8 Cross Dissolves' in the forum. 4 months ago

The "New Features screen" is normal to see when you startup the first time after deleting preferences. Did you try Ben's suggestion? Also, did you move any folders or plugins out of the default Users/Movies/Motion Templates folder?

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Dan Wierling replied to the topic '10.4.8 Cross Dissolves' in the forum. 4 months ago

Test a project by clicking in the timeline between two clips and press COMMAND and T, see if a cross dissolve is applied. This is the default shortcut for a dissolve (unless you have modified the shortcut). If it works, then relaunch FCPX while pressing OPTION-COMMAND keys and delete ALL preferences. This may restore your icons, especially if you never did this when updating FCPX. It's recommended to do at first launch of every FCPX update.

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Dan Wierling replied to the topic '10.4.8 Cross Dissolves' in the forum. 4 months ago

Both of those transitions can be located in the transitions browser under the category of Dissolves.



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This sounds like you have a color correction both on the clip inside the multicam, and also on the timeline in your project. Try disabling any correction you have on the timeline, and then also disable any correction directly applied to the clip when you open the multicam - and see if the images now look the same when you switch between the open multicam and timeline.

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All the developers you list, in my opinion are stellar. I have plugins from them all and am very satisfied with the adjustment options, rendering speed and quality. You might also consider LenoFX which also makes excellent titles and plugins in general. With respect to 4K, if the title packages are designed for 4K, they should look excellent at that resolution if they are from a reputable designer (which the above are).

Compatibility with future versions of FCPX (and Motion) can never be guaranteed because nobody knows what changes Apple may incorporate in the next release. That said, most developers release updates to their packages to comply with the latest updates in FCPX and Motion. Unless Apple drastically changes the framework and coding requirements in these apps I would feel confident that developers would continue to update their plugins, particularly the popular selling ones. Past trends tend to confirm this. Future advancements in the apps could possibly get to a point where it wouldn't make sense for a developer to entirely rewrite their plugin, but that applies to just about any software.

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