Smooth means the movement will accelerate from the keyframe, become fastest in the middle of the move, then slow down at the end as it gets close to the next keyframe. Note that the keyframe defaults to Smooth. In the past, because the portion of the image we are zooming into is very close to the edge of the image, if we set the keyframes to Smooth, the image would skate past the edge of the frame revealing black edges.įirst, right-click any of the keyframes. NOTE: Again, FCP sets keyframes for all transform parameters at the position of the playhead, not just the position keyframes that I moved. However, if you aren’t paying attention, you’ll discover that keyframes have been set when you weren’t expecting it as FCP sets keyframes whenever you move something in the Viewer or Inspector once you’ve set a single keyframe.)įinally, I position the playhead in the clip where I want the move to end, and slide the image in the Viewer to the final position where the snow-capped peak is positioned where I want it. (While I wish it would only set keyframes for those parameters that already have keyframes set, setting keyframes automatically is a nice feature. Next, I want to zoom into the peaks on the left, so I position the playhead in the middle of the clip where I want the zoom to end, select the clip, adjust Scale in the Inspector to the amount I want, then adjust the on-screen Transform controls for the position I want.įinal Cut automatically sets keyframes for all Transform parameters as soon as I change one of them. For my editing, I never work with images larger than 4,000 pixels on a side. From my experience, in talking with other editors, I recommend that you keep all still images to 5,000 pixels on a side in FCP or smaller. The percentage will vary based upon the size of the original image. In this example, I scaled the image smaller to about 60%. Since the image is larger than full-screen, I reduced the Scale until the full image appears in the frame. When the icon is gold, a keyframe exists at the playhead position. NOTE: When the keyframe icon is gray it means that no keyframe for that parameter exists at the current position of the playhead. 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: 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.
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