FCP- Motion- FCP?!

HI ALL,
1) FCP for Scale-In the video will be unsharp ; Motion will be the best tool for Zoom-In (Scale-In)?
2) Say, Mastered/Edited video in FCP then send to Motion for further effects processing and now do the video be able to return to FCP after saved in Motion?
Thanks for now and appreciate!

GAH!! I just now realized what you were talking about with the camera zoom quote above.
I thought you actually meant a CAMERA's zoom!! No no no... in Motion, you can zoom in the virtual camera if you have something in 3D space created in Motion!! That's what that was talking about.
No... just 'zooming' in on a video won't be any better in FCP or in Motion whether you make it a 3d world or not.
Ok... sorry for the misunderstanding. But hopefully the render got it to something you like. For me... anything over 133 scale is really bad. 133 is what I used to do to make a 4:3 video into a 16:9. It worked just well enough not to care, but I'd never want to do that for professional broadcast.
But then again... I've also scaled something a lot more and used it as an 'effect cut' if you grunge it up a bit and make it desaturated it can have a nice (though over used) effect on an interview. The grunging up hides the soft nature of the over-scale.
CaptM

Similar Messages

Two 24" LCD Monitors with FCP / Motion

I have a Mac Pro (early 2009) with the new ATI Radeon 4890 dual DVI video card and one Apple 24" LCD monitor. I'm using this setup for primarily FCP/Motion work. Question:
- Can the ATI Radeon 4890 handle two 24" LCD monitors, or do I need to purchase a second video card?
- Can FCP / Motion handle two video cards?
Thanks!
lance

Can the ATI Radeon 4890 handle two 24" LCD monitors
ABSOLUTELY. There are two monitor connections on the card. One DVI, the other the Apple connector.
Can FCP / Motion handle two video cards?
Yup. Most FCP workstations I have been on, and personally own, are two monitor setups. That is a fairly typical setup.
Shane

Why is Motion so much quicker than FCP doing Steady Cam?

Being a helicopter operator I keep doing projects that require steady cam.
I used to use Shake, then Motion, and now FCP with the additon of steadycam but I am wondering why Motion is so much quicker than FCP with the same clip.
Maybe a dumb question but one I need to ask.

running the same filter in both fcp and motion, motion always renders faster.
This is because motion renders and draws all frames directly on your graphics card. FCP now uses the GPU for many effects but has to read back from your card to main memory.
Unless Apple does a total rewrite of FCP this is unlikely to change, guess you either have to keep swapping apps or put up with longer renders in FCP.
Roger
CoreMelt

Error message when importing motion files into FCP

In FCP.
I choose a clip/clips in my sequence. Then choose send to motion project and follow the directions from the training dvd.
By unchecking (embed "motion" content) then save the file with a different name. Then continue with making my graphics over the video clip/clips.
When I am done I then shut off the video layer of the clip in the motion timeline. Then I save the project. Then close Motion and try to import the motion project in FCP.
When I try to import, I get an error message stating "File Error: 1 files(s) recognized, 0 access denied, 1 unknown."
I go back to the training file to try the same procedure and it works fine.
Go back to my own project and it doesn't work.
Any ideas? Anyone?
I have a Mac Pro 2.66GHz / 5 gigs of ram / 512 vram ATI graphics card
Also working with universal software for FCP studio.
Intel 2.66GHz Mac OS X (10.4.9)
Intel 2.66GHz Mac OS X (10.4.9)

OK???
Don't know what the deal is. But I made a new sequence in my project and copied my other sequence with in the new one and then tried to do the whole clip step for step process of send to motion and importing back in and it worked!!!!
I check all the listed settings of my sequence in my browser window and both the old sequence and new sequence are the same.
I am happy that I can move on with my work, yet I am frustrated with the fact that I am not sure exactly what the problem is.
Thank You Again!

Fcp and motion 3 with Yosemite

I Recently upgraded the operating system of my 2009 Mac Pro to Yosemite and consequently FCP and motion 3 no longer work. Can I do a clean install of Mavericks on a spare hard drive, install FCP and motion 3 on it and not have any conflicts with the other hard drives?

HHi Nick, thanks for the response. My question however was : can I have one hard drive operating Yosemite and another operating Mavericks with FCP and motion 3 without conflict in the same computer? Any ideas?

Problem using the Send to motion item in FCP 5

Everytime I send a clip from my timeline in FCP to Motion 2 the clip's aspect ratio gets changed. I am using the Apple Intermediate Codec HDV 1080|60. My preset in Motion is to HDV 1080|60.
It appears that the clip is being stretched along the horizontal axis (it is wider when brought into Motion this way).
Help!!
Thanks in advance
G5 Quad Mac OS X (10.4.7) 2 GB RAM, Apple 30" Display

I am having the same kind of problem as I export fro fcp to motion and then back, it looses the anamorphic flag and I reset it, however, even after doing that my clip does not correct itself. I also tried exporting the clip to quicktime movie and importing it to fcp, but even then it does not maintain the aspect ratio of my project. Could there be an underlying bug under the hood, or is there a sequence of steps to properly do this?
Thanks
QuadG5 Mac OS X (10.4.7)

FCP scaling/aspect ratio motion algorithms make good video soft?

I have tried everything, but converting 16:9 footage into a 4:3 timeline in Final Cut Pro makes the letter-boxed video soft. I have, of course, double checked against NTSC external broadcast monitor. Original 16:9 clips look great, when converted to letter box 4:3 timeline they go soft. ( I believe it is FCP ineptness in handling Pixel Aspect Ratio conversion from 1.2 to 0.9, but I would love to be wrong at this point) I know FCP has poor scaling algorithms to begin with, but this is a very obnoxious issue when capturing clips widescreen from the deck, but having your final output needing to be edited and taped off in letter-boxed format for SD broadcast.
I really want to avoid losing any quality when going from 16:9 to 4:3 letter-box, so is there a plugin that can be used to handle the rescaling that does a better job than just FCP by itself? These are pretty complicated edits, (television show) so avoiding having to hop over to After Effects for a second huge render would be preferable. I have exhausted Google looking into this, lol, anyone have any ideas?
Thanks All,
Dustin Hoye
Editor
Sour Squirrel Studios, llc.

Patrick,
Thanks for the quick response. My motion filtering quality is set to "Best". After looking over the link you provided ( I will examine more thoroughly, but saw your response and wanted to re-post to answer your question.) I also tried switching to "Fastest (linear)" just to see if it would eliminate the softness/possible double lines, but of course, no luck. (Also, just to clarify, this is working all in SD.)
I would consider using Compressor or (After Effects for that matter), but I am editing using the letter box conversion because we occasionally are mixing in past regular 4:3 footage with the letter boxed 16:9. (the reg 4:3 being a minority of the clips) It is easier just to matte those 4:3 clips to match the converted 16:9 since there are fewer of them. If I fed the timeline to compressor then those clips (the reg. 4:3) would get interpreted incorrectly. I suppose I could just leave them out and re-insert them later, but depending on the number of them and how they are used that could be quite a work-around. It would be great if I could just get FCP to interpret the conversion internally (i.e. plugin) w/out causing quality loss. Sigh.
Everything else is set to 100%; editing 10- bit uncompressed, 10-bit material in High Precision YUV. I have tried multiple combinations of capture, codecs and vid processing options, but all seem to have the same result.
Thanks Again,
Dustin

FCP and Motion formatting issues with DVCPro 50?

The material is DVCPro 50 NTSC 48khtz. (Item properties indicate that I initially digitized it properly.) My sequence settings are DV50 NTSC 48khtz.
I wanted to create a vignette effect so I exported my clips as a Quicktime (current settings) sequence to Motion. When I was done there I exported the sequence from Motion back to FCP as a DV NTSC movie.
Some of the Motion effected clips will play, look great and then all the sudden I see a black band appear on the East side of the frame. I can stretch it in Motion some but it just degrades the image so I'd rather not.
I'm surely grateful if someone can steer me in the right direction here.

Thanks for the workflow tips and suggestions. I backtracked to my original sequence and found the problem originates there. I have narrow black lines on both sides of all these clips. Since I resized a few clips with moves, I didn't recognize the problem. Now that I'm closer the root of it, any suggestions?
By the way, these problematic clips are intercut with no problem library footage that was also shot on DVCPro 50 and I took in on the same deck.
I cruised the forum for any occurence of a similiar issue and most replies seem to suggest a formatting issue. I don't get it since I think I have everything set up correctly. As a precaution, I also tossed out my preferences using FCP Rescue 5.
Welcome to the discussions, splotch.
Not sure what is causing this, but I might propose an
alternate workflow. Have your clips on the timeline
as you wish, ctrl/right click on them and select
Send To Motion.... Click the
embedded and open Motion ticks, give it a name, then
continue. Do your work in Motion, save, quit, and
fall back into FCP. Your clips may lose their
"anamorphicness" on their round trip, but just
ctrl/right click on the clip and select Item Properties/Format..., then
click on the anamorphic button.
Try this and see if you are still getting the same
problem...
Patrick

Why Does Text From Livetype & Motion Look Bad in FCP?

Am I doing something wrong?
When I design a simple project in Livetype or Motion with white text on a black background, the text looks really bad (very unsharp and not straight lines) once it is rendered out as an NTSC DV Movie. Really, it isn't only FCP that displays it this way. When I open the file in Quik Times Player, it looks just a bad. Is there some setting you can think of that might cause this? Any advice is welcome. Thanks!
PowerMac g5 2.3 Mac OS X (10.4.8) Final Cut Studio 5.1

Neither Canvas nor QT Player really constitute monitoring.
Ideally you should be looking at an external CRT to see what you've got.
Lacking that, set your Canvas to 100% and uncheck Square Pixels so at least you're seeing pixel for pixel.
Set RT to Safe.
Set your render settings to the highest all around. This is done unfortunately in several places.
Check the Motion tab for your Motion and Livetype imported clips. Make sure they aren't being resized.
Check back.

How Do I Load 3D LUTs in FCP-X or Motion Natively?

So according to this web site: http://www.colorgradingcentral.com/lututility FCP-X and Motion 5 now allow me to load in LUTs without having to use / buy an additional piece of software / FX. But when I do a search on how to do that, the only thing I find is people selling apps to load LUTs into FCP-X.
Can someone point me to where this is documents, or explain how to do that without a 3rd part app / plugin? (Even my search on the apple site yields nothing... but I may be searching the wrong terms- I thought 3D LUT, FCP-X, and Load, install, apply, how to would get me the answer...)
Thanks for your help and guidance.

without having to use / buy an additional piece of software / FX.
Where do you see that?
If you’ve been wanting to apply LUTs to LOG footage or emulate different film prints in Final Cut Pro X, I don’t even have to sell you on this plugin.
Final Cut Pro X and Motion 5 users can NOW apply 3D LUTs or Look Up Tables to their footage!
LUT Utility allows you to apply LUTs to LOG exposed images from: Arri Log C, Blackmagic Camera Film, Canon C-Log, RED Filmlog, Sony S-Log, Technicolor Cinestyle and any other “flat” Log picture profile from cameras including Nikon and Panasonic! Any “flat” looking image can benefit with the right LUT applied.
You have to buy the LUT Utility to do this.

Using still image in FCP and Motion

I'm using still images in Motion (and FCP) and exporting them to Quicktime movie files. What's the best size and resolution for the images and are JPGs or TIF best? I'm exporting for 720 X 480, and currently my JPGs are 4 x 6 at 300 dpi with a pixel width and height of 1312 x 2000. I'm adding some behaviors to the images in Motion (motion paths and shrink/grow).
My FCP project is setup as a DV NTSC 48kHz, 720 x 480, editing timebase=59.94, timecode Rate=same as editing timebase, compressor-DV/DVPRO-NTSC, quality 100%.
When I export to Quicktime the movies are very low quality--lots of noise and moire pattern etc.
How do I get the best qualtiy using still images? Is it my FPS setting, image pixel size, compressor setting? Also, do the movies need to be deinterlaced?
The preview in the FCP browser and canvas looks a little better but I do notice noise (moire patterns) along the sharp edges of the still images.
I've seen QT movies of these very same images (done by someone else who is no longer around) and they are much better quality.
Does anyone have an appropriate workflow for this type of project? The final movies are to be shown on a flatscreen monitor from a local computer, so the file sizes can be relatively large (300mb).
I can post an example of he movie files if that might help.
Thanks.
Pedro

David, your a genius!!! You posted your reply on my birthday, and I missed it until today!
Fotomagico is devastatingly easy to use and absolutely makes me want to cry at the amount of time I wasted creating photo slideshows in FCP!
I opened Fotomagico up and created a slideshow, one that I had already created in FCP and had take me FIVE HOURS to create... in TEN MINUTES!!!!!!!!! Aaaaaaaaah.
I couldn't believe it. I thought there had to be a catch or something. This was too easy the quality can't be there... but it was. It's amazing and I can't thank you enough for all the future hours you have saved for me.
Al Romero

Best program to monitor time spent on FCP, Motion, Soundtrack Pro?

I run a small company as a free lance doc-film maker and was wondering if anyone could recommend the best program for keeping track of time spent working on Final Cut Pro, Motion, and Soundtrack Pro projects for my clients.
I'd like a program that tracks how long I spend on each Final Cut Studio application, like that I can itemize my billing to clients...so many hours spent editing in FCP, doing effects in Motion, even internet research on Safari when looking for photographic/film archives.
Thanks very much in advance to anyone who can help me,
- Nicholas

In general I'd say a spreadsheet or text document and your own diligence are close enough to get an idea, as charging for the time spent in software isn't going to make you a lot of money.
That being said:
http://www.gridironsoftware.com/products/flow/flow_features.html
o| TOnyTOny |o

2 imacs v 1mbp for use with FCP and motion.

I'm in need of advice. I'm in the market for a new computer(s).
Let me give you a rundown on my situation.
HOME COMPUTER- dual 800 1GIG ram G4. probably 6-7 years old -i got it 2nd hand in 03 i think-
(its about 6 years old and very noisy and update needed)
WORK COMPUTER- AL PB G4 1.5ghz 2gig ram 17". Bees knees when released almost 4 years ago.
(redering and Motion are getting beyond tiresome with how slow they are).
The WORK computer I do all my editing on while the HOME computer I use for internet surfing, itunes etc. I use FCP for editing wedding dvds, work related videos etc. but I'm thinking of taking a break from the wedding filming & editing business to concentrate on other things. I will still continue to edit and film but not as much in the past 6 years. As of last week I don't have any projects or side jobs in the pipeline but that may change within 6 months.
MY QUESTION- What should I get?
1. 1 x 2.6 Ghz 4gig Ram 17" MBP at around 3,500 dollars (i'm in japan so about 360,000yen) and then use my AL powerbook as my home computer
OR
2. 2 x imac 20inch with 4gig ram which i think comes in at just under the MBP price
OR
3. 1 x imac 24" 4gig ram & 1x imac 20" with 4gig ram.
Is final cut pro and motion3 going to work better on the imacs than on my current AL powerbook? surely!
I still use motion1 and that really pushes my computer to it's limits. and the last 2 years have been a hectic one editing wise so I didn't want to upgrade computers during the course of projects ongoing.
(playing with fire in my books)
THING IS i need to be able to edit at both work and home. I take a my laptop with me to work everyday, but if I were to get 2 desktops I could just use external hard drives for my projects (which I do anyway). That's why if both computers are desktops they both need to be able to handle motion 3 and fcp6 to a competent level. and if I got two desktops I could try and sell my AL PB. It's still in superb condition due to me keeping it sleeved whenever not in use.
I heard rumours that apple will be releasing new imacs sooner rather than later as well.
ANY thoughts would be highly appreciated.

From what I've read on this forum, FCP doesn't work properly with two video cards.
-DH

Shakey Motion Titles When Authored to DVD From FCP

Hi all, i'm having a real nightmare getting motion titles in to an FCP project then authoring to iDVD.
This evening i tried embedding some streak titles in to a piece of a footage in FCP, i use the 'Send to Motion' function. The project looks absolutly fine when played back in FCP but when i author to DVD the section with Motion in is very shakey, it's a very quick shake and it comes more across as very weak distortion. The motion titles look great but it throws out the rest of the footage.
I've tried setting the field order to none and it only slightly helps. Both of my resolutions are 720 x 576 PAL, FCP Footage is DV PAL 48 KHZ.
Can anyone help????

Hey David,
Thanks for the suggestion. Unfortunately, I don't have Squeeze...
If I use the crop tool, that leaves a black border around the frame that's visible when I open the exported QT in the QT player. Was there another way of doing it?
Michael

FCP-- MOTION-- FCP WORKFLOW

I've posted a variation of this question in the QT forum but I think that the MOTION experts might provide valuble input for this quandary. Here's what's happening (I've read the posts under long render times in the FCP forum but nobody has really spelled out what the problem is.):
I opened up a new project in FCP and imported a large still (TIFF pixel dimentions:2880 X 1920). I created a new sequence and then placed the clip of the still frame in the timeline. I then SEND TO -->MOTION PROJECT and embed it so that it feedsback any changes to FCP automatically. Now in MOTION I select the layer with the still image and REPLICATE so that there are 50 copies of the same obeject arranged in a stack and then adjust the scale so that the topmost object has a scale close to zero and the last object has a scale around 350%. Lastly I add a attract to behavior so that the objects become animated and kind of look like a warping vortex. Theres also a mask thrown in somewhere. So that's it:1 large still, 1 replicator, 1 behavior, 1 mask, 2 layers for about 60 seconds. Everything in Motion moves fine. I think the playback stutters a little and it does drop a couple of frames, but I get the main idea and I can monitor in real time on an external monitor. I save and then move back to FCP. Back in FCP things slow way down. It takes FCP about three minutes just to get back up to speed and display the current playhead frame. I cannot playback the clip at all because the program just kind of hangs and is not responsive at all. I have tried using QT Conversion with this clip and tried to Export to IPOD. It estimated 15 hours to do the job. A MPEG 2 export using COMPRESSOR with all settings on best and highest took 24 hours to complete. That's around 45 minutes per frame!!
Can someone detail the actual specifics of how motion and fcp differ in accessing/reading data and then how compression actually works as well?
Any takers?
Please enlighten me.
g5 dual 2.7 Mac OS X (10.4.3) 4.5 GB RAM, ATI Radeon 9650

Thanks for the tip Patrick.
The scary thing is that I've already checked out that material. I obviously need to re-read it(maybe a couple of times). The nuts and bolts section spells out really the ins and out of Motion and the way it is hardware based and and GPU dependent. I understand that it was overkill. I get that. I'm definitely looking at this as a how can I learn from my mistake angle, not a this computer *****, or this software is buggy angle.
It might sound worse than it actually was (for Motion that is). Motion was totally functional accessing and modifying the clip. I could add a MIDI behavior and modify the scale of the layer or object. It was a little slow but it was responsive. FCP on the other hand is where I ate dirt. Not only in the compression stage but also just playback. Like I mentioned before after modifying and saving the embedded .motn clip in Motion and bouncing back to FCP it takes FCP about 3-5 minutes just to read and display the current frame. Before that the pointer just pinwheels. How is it that Motion is able to read the clip while FCP almost crashes trying to read one frame?
WUDDAYATHINK?

FCP: Motion Distort Aspect Ratio -33.33?

Good morning,
I recently exported two different sequences from FCP. Both films were exported using ‘QuickTime Movie’ and ‘Current Settings’.
One of the films came out letter-boxed and the other did not.
In investigating this I found the only difference in the settings of two films seems to be that under the 'Distort' field in 'Motion' tab of the FCP Viewer, the Aspect Ratio for the letter-boxed video was set at '-33.33' while for the full-screen the Aspect Ratio was set for '0'. When I changed the -33.33 to 0 I got the full-screen, non-letter-boxed image I wanted.
Both films are also played with QuickTime player using ‘Conform Aperture to: Clean’ under the ‘Presentation’ tab of [Command]-J.
Why was the Aspect Ratio for these clips set at -33.33? Since I didn't set this, it must have been an automatic setting.
I'm sure I'm missing something here.
Cheers,
BurntMonkey

Studio X,
Thanks again. 'Squeeze Mode' is the DVX100B's solution to fitting a 16:9 aspect on a 4:3 chip. If I understand correctly when in the mode the DVX basically animorphically squeezes the footage onto the chip. Then when it is handled in post the footage is 'stretched' and you are left with a 16:9 aspect ratio.
Yes, when I first drag a clip to the timeline, I do get the message about the sequence settings not matching and do I want to change them to match the current clip. Is this when the Aspect Ratio is set to -33.33?
My question is still 'Why?' When I reset the aspect ration back to '0' I get the full-screen, 16:9 image that I was hoping for in the first place. But I'm wondering when this will come back to haunt me. I have burned a DVD using the exported sequence so everything seems to be OK.
Thanks for your help in understanding this.
Cheers,
John

FCP- Motion- FCP?!

Similar Messages

Maybe you are looking for