I have a segment with 25 frame handles with CFX applied. It also has a time warp added in the timeline. When I try and extend the handles at the head of the shot it slips all the key frames within the CFX. This happens regardless of whether I set the KFM box to 'Shift' or 'Pin'.
How do i move a keyframe in time without changing any of its x,y,z parameters?
and Can i have different interpolations for individual keyframes on the same parameter? (so i can ramp a move into a keyframe, then continue out at a linear interpolation)?
Is there any way i can see which one is my current keyframe ? in the viewer i got a tracking data (path), but when i scrub the time, i'm lost... i don't know which one is the current keyframe. Normally i can see the big 'cross' icon which represent the position of current track data, but in case where the cross has been shifted out then i have no clue about the current keyframe.
In tracks editor, if let say i have 5 keyframes then i select 3 of them in the middle , then how to do the X-scale ? Among the available operation, i can't find scaling.
i'm finding that while using smoke in CFX i'm suffering a lot from what appears to be massive lag with smoke either taking forever to change modes or sticking on one entirely. For example I will be editing points on a Gmask then go to click elsewhere like the render mask button. instead of toggling the button it tries to pop the last moved Gmask point to where I have clicked. and this persists ever after hitting undo and trying again. I am also finding similar things happening when moving nodes around the CFX schematic. URL...
It would be nice to have the full set of blend modes available to the AXIS tool in the timeline.
Quite often the most used blend modes for quick color treatments....Overlay, Hard Light and Soft Light etc...are not available in the timeline AXIS soft effect.
Is this a limitation of the soft effect as opposed to using ACTION or say Blend&Comp nodes?
New users would probably not find where the extra layer blend modes where, and may simply think that Smoke lacks these most used blend modes.
I imported a Final Cut sequence via XML into Smoke. The media is 1080p25 ProRes 422 HQ and is located on our SAN. I need to do some green screen work. I have two clips and an Axis effect on the upper clip.
Adjusting the keyer and scrubbing that segment of the timeline is painfully slow so I want to copy just the two clips I am working on, to the local storage.
Is there a way to do this directly from the timeline? I only want what's in the timeline. Not the whole length of the original media.
I drew a Gmask with 4 points and broke the handles. My questions is:
1. How do I know when 2 or more points are exactly on the same vertical or horizontal line? 2. How do i get them to align? 3. How do I move 2 or more points together? (Control select and drag)?
I'm doing a simple 3D text move in Action and I want to layer it on top of my timeline. After rendering the layers in the timeline, it seems that my matte is messed-up (see attached).
I'm trying to line up some audio with my cuts. I can see the the amplitude but as soon as I hold and move the audio it turns "light" blue. And I can can't see the waveform, which is useful a lot.
All I want to do is line up the cuts with the a back ground beat.
i have a clip in layer 1 and i want to move it to layer 2 , i don't want accidentally move in horizontal direction (change edit point), i want to move straight vertically. Using FCP hotkey, i can activate snap (shift key) to constraint it to a cut, but that only works if i got another clip, if there's no other clip , i can't do constraint since there's no reference. In FCP i can still doing it because it can use the current clip's previous position as reference edit. But in Smoke , i can't do that. I think there should be a feature added for this process. The workaround is : do not move the clip but using duplicate, then delete the original one... but seems too complex for that little tiny task.
I know that the AJA Kona 3 card has 2 outputs. Can Smoke send one eye to one channel and the other eye to the other of the Kona 3 card? Dual Stream output is what I am really getting at.
Is there any way that Smoke can see/output sub-blacks and super whites? Can't find any way of seeing them on my scope, Smoke just clamps everything. It won't even see anything below zero in order for me to make a correction on it, everything seems to be clamped on import. I'm using ProRes HQ footage.
What is the best plugin to do spline warps in smoke?(need something like the distort in flame) I notice revisionfx don't make a warper for smoke on mac.
I am experimenting with Smoke 2013 pre-trial and I am having issues with importing images and video with alpha channels.
1. If I have a layered Photoshop file or png with an alpha channel (a still frame lower third), I see that I can import it as a multi layered clip, but what is the best way to have it in the sequence to show up properly?
2. If I have a QuickTime in animation format or Pro Res4444 format with an embedded alpha, how can I import that file to show and cut it on a top layer to animate above my video?
Does Smoke have selection functionality similar to that of Combustion? As an example, you might want to selectively blur part of an image. In Combustion, you would draw a selection and then apply an operator above the selection to achieve this. I don't see a similar selection tool function in Smoke, but I imagine you could achieve the same effect by duplicating a layer and using a Gmask via the Wipe timeline FX.does Smoke not have a selection tool similar to Combustion?
Whats the dealing with importing TWs to Smoke? I have a show that's 70% keyframed with timewarps and need a way other then baking the effect to bring it into Smoke. It's comming from FCP7 and we have Automatic Duck but neither the XMLs or AAF bring anything other then the first speed of the clip. Any way to retain the keyframes?
I have RED footage which I exported as EXR. When I import them back in, they look exactly like the RED footage. But when I import the EXR in Fusion, export it back out, and then import that EXR into Smoke, it looks brighter, although I didn't change anything in Fusion. (when I compare the EXR from Smoke and the EXR from fusion in my finder on my desktop, they look exactly the same). So what is Smoke doing with the "foreign" exr on import?I was also playing with the LUT settings. I get a result which is close, but I need to be exact.
When I export a XML from FCP 7 all of my files come over and link but there is no video with my HDV files (1440 x 1080) all of my other files (Canon FX etc) come over fine.
I converted the h.264 files to uncompressed 10bit. Bringing in the footage and XML was fine, but as soon as I resize to PAL (the timeline was changed to PAL, as was the output on the AJA) the picture starts anti aliasing in detail areas. I have processed this with every filter in Smoke with no satisfactory result.
I am having issues for a long time regarding importing XML into smoke 2013. Will try and explain you in breif.
First When we try an import XML into smoke it just doesnt do anything, in the message history box it comes up saying FOUND 0 SOURCES.
Nothing gets imported at all. No footage is imported, nothing is shown in timeline as well.
Second For a different project when the XML does get imported, the videos get imported but then again nothing is coming up in the timeline and in the message history box we get the following error.
XML Validation Failed.
Cannot process unliked media.
we have checked all the import options to make this work, including max up level and the rest but nothing is working.