2/21/2024 0 Comments Final cut pro x keyframe![]() ![]() They are invisible until your cursor gets close to their location.) (Roll your cursor over the icon area to make the icon appear. Instead, I manually set keyframes in the Transform section of the Inspector by click the gray keyframe icon to change its color to gold. We could set keyframes using the keyframe button in the top left corner of the Viewer, but that sets keyframes for all Transform parameters or Crop or Distort if one of those was being adjusted in the Viewer. If you want a move to start in the middle of a clip, you need to create that move manually, or split the clip.Ĭlick the rectangular Transform icon in the lower left corner of the Viewer to enable the on-screen Transform controls. NOTE: The “Ken Burns effect” always runs for the duration of the clip. Next, I put the playhead where I want the move to start and selected the clip. This displays the image at 100% size, without scaling it to fit the project. To make sure FCP lets me use all those pixels, I selected the clip in the Timeline, opened the Inspector and set Spatial Conform to None. Beyond that, you are creating fat pixels, which make your image look soft. NOTE: To keep image quality as high as possible, avoid zooming much higher than 100%. This allows me room to zoom into an image without losing quality. To start, I created this image at 2133 x 1200 pixels – larger than the 1280 x 720 project I was editing it into. (It is hard not to take a beautiful picture around there.) I want to create a zoom into the peak in the top right corner of the image. Here, for example, is a photo I took of the Canadian Rockies near Banff. With the update, Apple “eliminated unintended movement between smooth keyframes which use position parameters.” So, let’s take a look at how this works. However, and it was a BIG however, smoothing almost always caused images to shift position. When keyframes were set to smooth, an effect would start slowly and speed up in the middle, then slow down at the end. When keyframes were set to linear, effects would progress at a steady speed and direction. In “the olde days,” before the update, keyframes had two states: ![]() You just do the adjustments directly to the clip and add a keyframe, then go to the next clip position and repeat.ĬoreMelt's SliceX will connect to Color Finale and do motion tracking on Color Finale adjustments, e.g, motion track an object moving across the frame and only do Color Finale adjustments on the masked region.In creating my new Final Cut Pro X training, one of the new features that I was intrigued by was not so much a new feature as a bug fix which made an existing feature work a lot better. However Color Finale has keyframed color adjustments, so that's another way. This is very fast once you're accustomed to it. In the portions of the bottom clip which are OK you use less opacity of the top clip, which mostly shows the bottom clip. In the portions of the bottom clip that are now too dark you use low opacity of the top clip, showing more of it. You then keyframe opacity adjustments in the top clip. You then adjust the exposure of your bottom clip for the brightest part which makes the other parts too dark. You just duplicate the clip and attach it above your main clip: select clip, copy to clipboard with CMD+C, then position playhead or skimmer at desired location and paste as connected clip with OPT+V. This assumes you want a keyframed exposure correction, not color. I actually downloaded Chromatic awhile ago but didn't install it because it didn't appear that it would give me the kind of keyframing capability I wanted. But they do have free trials of all their software, 15 days fully functional IIRC, so it's worth giving them a try. I use this along with the standard FCP masks for some pretty complex effects and am moving away from using the built-in FCP color correction feature.īTW, I like CoreMelt's stuff - recently got their SliceX and have found it very useful (although it crashes FCP more often than I would prefer). Then there are some additional keyframe-able parameters as well. You have a standard Apple picker for the high/mid/low colors and sliders for high/low/mid levels. But you can keyframe all the parameters in the inspector and it works really well. Not so crazy about the user interface that overlays big color wheels on the video so I just turn that off. Recently I've been using a $25 plug-in from FCPEffects called "quick color". I have also been frustrated by the lack of color correction keyframing.
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