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Now you can transcode to 4K ProRes over 3x faster with FCPX


Andrew Reid

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First, we don't disagree in general. But God is in the detail. As we both know, you can't animate dinosaurs in AAE, but if you are used to exhaust it's possibilities ('Andrew Kramer'), then it's mightier than Motion, to put it mildly. I don't like the GUI, I quote myself from another thread:

Eventually, it has to have fully operational nodes. It may have no more layer comps at some time in the future. The question is: When? Stu Maschwitz asked for working nodes, seven years (!) ago. The current Adobe help says on flowcharts:

'Note: The Flowchart panel shows you only the existing relationships. You cannot use it to change relationships between elements.'

Get this: Adobe calls compositions, footage, blend modes and effects elements. Wow! Yet they deny to connect and modify these elements directly. It's back to the incomprehensible layer scheme with it's dreadful disclosure triangles, invented decades ago. You snooze, you lose.

 I rotoscoped stuff in Shake, in Motion and in AAE. You mentioned Mocha Pro to get tracking data into Motion. But Mocha Pro is §1500 the last time I checked. And as far as TrackX with Mocha (~$100) is concerned, it's good for the aforementioned matchmoved lower thirds, but you can't track a four-corner matchmove with it, for instance. So it is cheaper and much easier, but it's also limited.

We agree, that most people don't need it, and though I am able to design them of my own, I'm happy to use templates created by others, preferably if they're free.

I recommend you connect an adjustment layer over your whole sequence and apply the appropriate lLUT to that. That way you can trash it as a whole before you export to Resolve.​

Why would you do that? To reapply it in Resolve? And simply leaving them on is bad because...? You realise of course, that any and all color changes you have applied in FCP X, including (built-in) LUTs, are carried over to Resolve via XML, no? 

 

 I can't tell what pietz is needing the LUTs for. My clips often are in BM ProRes Log, which is rather flat. Not nice to look at while editing. Of course I could simply use the built-in LUT. But unfortunately the IR-cut-filter I have to use causes a slightly greenish cast, and I use a modified LUT with LUT utility. If I exported the adjustment​ layer with the LUT to Resolve, it would show as TITLE, because it's an empty title template originally. I rather apply the LUT again in Resolve, no big deal (more often, I don't use a LUT in Resolve other than that for the monitor). Sorry for the complicated explanation. As I said, God is in the detail, and everybody has his own way, neither wrong nor right.

BTW.: Color correction in FCP X alone is possible, quite comfortable and often underestimated. For the majority, it will suffice. Compared to grading in Premiere (w/o Speedgrade), let alone AAE, it's close to perfect.

 

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​Here is why:  Tell me one reason for using independent tracks to arrange clips in the timeline. I asked this a couple of times in other forums. No one had an answer. Finally comes the killer phrase '

That's exactly correct. You definitely have to have a different mind set from the traditional track based editing to wrap your head around FCPX. Aside from the GUI looking like imovie, which hopefully

Andrew. You have to throw out the 1990's mindset of what an editor should be to understand FCPX. Once I did that I could not go back editing the old way. FCPX is the fastest editor out bar none. It is

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