FCPXTemplates https://fcpxtemplates.com Final Cut Pro X plugins templates effects titles, etc. Mon, 08 Jan 2018 20:42:04 +0000 en-US hourly 1 https://i2.wp.com/fcpxtemplates.com/wp-content/uploads/2016/05/fxlogo041716sm.jpg?fit=32%2C32&ssl=1 FCPXTemplates https://fcpxtemplates.com 32 32 111101464 Flat Countdown Leader User Guide https://fcpxtemplates.com/flat-countdown-leader-user-guide/ Wed, 03 Jan 2018 03:04:00 +0000 https://fcpxtemplates.com/?p=4749 Flat Countdown Leader User Guide Lightweight, stripped down leader countdown designed as a title for low profile in the storyline. Flat Countdown Leader requires Final Cut Pro X 10.4 or above (it utilizes a brand new feature). Start On: — Optional values range from 9 to 3 as a dropdown menu. The design of this […]

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Flat Countdown Leader

User Guide

Lightweight, stripped down leader countdown designed as a title for low profile in the storyline. Flat Countdown Leader requires Final Cut Pro X 10.4 or above (it utilizes a brand new feature).

Flat Countdown Leader
Flat Countdown Leader Parameters

Start On: — Optional values range from 9 to 3 as a dropdown menu. The design of this plugin is such that the numbers, starting from this selection’s value down to zero (although 0 is never shown, just a blank space). Whatever “decoration” you have designed will disappear at the end of the countdown no matter how long you stretch out the title. If you notice the length of the title: 10:01, this is one frame past all rendered graphics and that last frame is infinitely played when the title is longer than 10 seconds. Every smaller value also turns off the graphics at the end of the countdown in exactly the same way. Always reliable. Always easy to use. You can elect to shorten (or lengthen) the title without affecting the timing of the count. To line up your clip, properly timed, line up the playhead (or the beginning of a clip) to one frame past the end of the visuals; or, if lining up the effect to indicate the end of a clip, line up the last frame of the visuals with the end of the clip. If 100% accuracy is not necessary, just line up the end of the title to the end of the clip (nobody will notice).

Note: The start of each number change animation is the start of the timing for that second. With a Start On setting of 9, the number of the count is in effect for the entire duration of the animation. As soon as it begins to move “out”, the “second” value has advanced to the next number value. In a 30fps project, 9 will be the first number to animate in. In all Bounce settings (see below) the number shown eventually comes to rest. The first frame it begins to advance again, the count has already changed to 8 even though you will not immediately see 8 in the view. The time advances on the first frame of change animation. [If you have trouble visualizing this, add this title to the beginning of your project. Advance the playhead frame by frame to watch the animation and keep track of the timecode to observe how this effect behaves.]

Hide 1: This is included to remain consistent with “classic” leader countdowns which almost always omits the ‘1’ from the count (accompanied by a tone on the 2 – generally called a “two-pop”). [Tone included in download].

Bounce (Loose-Tight): The default presentation is an approximately 33% amount of “bounce” for the numbers as they animate into place (although the number displays “3”).  The minimum “0” is a “long slow” single bounce. The maximum value “10” will have no bounce at all — the number will move into place and stay. (this parameter can be keyframe animated if you’d like to change the effect over time).

Scale: This is an interesting parameter. The appearance of the numbers within their “spot” will change depending on scale. Smaller scale values will shrink the number with respect to the spot. Increasing the scale to larger than 120% will grow the numbers larger than the spot region. This is a result of the internal design of the effect, but adds a definite “coolness” to the effect.  If you need to scale this effect and keep the “aspect” of number to spot at a specific relationship, use the Video Effects Transform Scale All parameter after setting the internal Scale parameter.

There are three components to this effect: the number, the spot and the spot outline. There are parameters for setting each color and Opacity parameters for the Spot and Spot Outline.

This effect was originally designed in Motion as 3D (number animation is around a cylinder) but the ultimate design is as a “flat icon” type. Positioning must be done with the Video Effects Transform parameters. The effect cannot be moved in it’s own space because of the parallax introduced.

It is recommended fitting this effect into a video scene by applying the Video Effects Distort function and use photos or clips as the accessory for this countdown (as demonstrated in the video below).

 

Flat Countdown leader demo:

 

Available here:

Flat Countdown Leader

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FCPX – Motion Template Compatibility Guide and how to backdate a template to work in older versions https://fcpxtemplates.com/fcpx-motion-compatibility/ Mon, 25 Dec 2017 04:05:44 +0000 https://fcpxtemplates.com/?p=4553 Final Cut Pro X Template Compatibility Guide Whether you need to "backdate" a template to an older version of FCPX, or just curious to see if a template you're trying to use is compatible with your version of FCPX, the comparison chart below will help you. People who design templates generally tend to use the […]

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Final Cut Pro X Template Compatibility Guide

Whether you need to "backdate" a template to an older version of FCPX, or just curious to see if a template you're trying to use is compatible with your version of FCPX, the comparison chart below will help you.

People who design templates generally tend to use the latest version — we have to so we can keep up with all the "latest and greatest" features. What that generally means is that any new template created with the latest version of Motion will only work in the corresponding latest version of Final Cut Pro X. Not always convenient since there are plenty of Final Cut users still using older versions for whatever reason like hardware restrictions, project involvement, or even other less honest reasons — I don't care. I'm not judging. When you're stuck, you're stuck and neither Motion nor FCPX has a method of being able to "backdate" templates, even if they are still compatible!

Below is a table of all the versions of Final Cut from 10.0 to 10.4 (and hopefully it will be updated as needed) with all the corresponding versions of Motion, plus some other data which will be covered shortly. You can also see their release dates, although some of the dates are only approximate for Motion as it was not always updated on the same days as FCPX in the past, or, so far. You can also see there were several subsequent subversions released with no change of the other app, for example, FCPX went through versions 10.0.1, to 10.0.3 without a corresponding update in Motion.

Motion Template project files are just XML files which can be opened in any text editor like TextEdit. The first few lines are always exactly like this:

<?xml version="1.0" encoding="UTF-8"?>
<!DOCTYPE ozxmlscene>
<ozml version="5.5">

<displayversion>5.1</displayversion>

	

with the double space between the ozml and displayversion tags. Note that Motion 5.0 and 5.0.1 do NOT have a displayversion tag and the next tag in the file will start after the blank line following the ozml tag. This is as far into these files as you ever need to go.

The (simple?) Rules:

You cannot backdate a template that uses anything that wasn't available in the target version of FCPX. For example, if your project uses shapes that use Size: Width and Height parameters, this must be converted to Control Points first if you need to backdate to FCPX before 10.2.0. If you are using 3D Text, you cannot backdate before FCPX 10.2.0, it has no way of "knowing" what 3D Text is. Etc. And there are a lot of these little gotchas you need to be aware of if you're going to successfully backdate a "modern" motion project for older versions of FCPX. That said, the majority of "function" in Motion is the same as it was going all the way back to Motion 2.0 over ten years ago. Your chances of success are fairly good!

Instructions:

There are four types of Motion projects used by Final Cut: Effects, Generators, Titles and Transitions and they have the file extensions of: .moef, .motn, .moti and .motr respectively. The Motion project files can be found inside the folder with the exact same name in the Motion Templates folder (by class, then by category folder). You can right-click on the template project file and Open With... and choose Text Edit. Make sure TextEdit is in Text Only mode (rtf will mess things up!) It is highly recommended that you move a copy of the template to a safe location before making any edits to the file.

From the table below, find your version of Final Cut (or your target version for backdating) and copy the OZML version to the ozml tag value (maintain the quotes!) then copy the DisplayVersion to the displayversion tag (notice the displayversion is exactly the same as the version number of Motion... so far). You should not change anything else in the file, including the formatting of the xml unless you need to remove the displayversion tag for Motion 5.0 compatibility. Make sure the factory tag moves up to occupy the former displayversion position in the file (one empty line between the ozml tag and the first factory tag).

Save. You're done. Go into Final Cut and see if it works. If you have a problem, you will probably just end up with a red icon with the Alert badge on it. If that's the case, delete the template and replace it with your backup (or if you cannot use it, keep it moved out of the Motion Templates location until you upgrade to the current version of Final Cut.)



Apple's release notes (most major additions will be listed here)
Motion Release Notes
Final Cut Pro X Release Notes



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Change Project Frame Rates in FCPX the Easy Way? https://fcpxtemplates.com/change-fcpx-project-framerate/ Wed, 06 Dec 2017 09:51:20 +0000 https://fcpxtemplates.com/?p=4441 Change FCPX project frame rates: Edit the XML file I have changed the frame rate of an FCPX project using this method successfully. It started after I learned how to alter a Motion project file (also XML) to change the frame rates of projects. I wondered: if I could do it for Motion, if I […]

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Change FCPX project frame rates:
Edit the XML file

I have changed the frame rate of an FCPX project using this method successfully. It started after I learned how to alter a Motion project file (also XML) to change the frame rates of projects. I wondered: if I could do it for Motion, if I could also do it with FCPX. Turns out… I could. All assets are automatically conformed to the new project rate.

This is not a supported method and should be considered experimental. If you attempt to do this – you will be doing so at your own risk. [I’m not going to take any responsibility for it. AFAIK, nobody else has attempted this.]

Follow these instructions exactly, and you should get a working project with the new frame rate. (I imagine you can change the size as well, but you can also do that from within FCPX which would be safer.) No knowledge of FCPXML necessary!


Create an “empty” project with the size and framerate you need. Use Custom Settings and set the specific frame rate you require.

 

File > Export XML.

Export XML on the project requiring the frame rate change.

Open the two XML files in TextEdit (Text Only – no rich text format! I recommend TextWrangler, but TextEdit wlll do… I think.)

Copy the top <format> tag from the “empty” project and replace the tag in your active project.

Save As a different name.

The format tag looks like this in context [it’s at the very top of the file]:

fcpx xml start
FCPX fcpxml opening lines

 

 

 

 

 

Just replace the line that starts with <format and ends with /> (exactly! same indent) with the copy from the empty project.

As a warning – make sure you *respect* the original line spacing and indentation in the file. Change only the contents of the <format> tag exactly where it is. Indents are tabs not spaces and indicates “levels”, etc. Changed formatting will invalidate the file. On the other side of this warning, all of the content of the original project seems to work perfectly (I’ve only done this a couple of times.)

File > Import > XML (to a different Event is recommended) the altered XML back into FCPX… You might be asked if you want to replace assets – I recommend you “Keep Both”. You should end up with two distinct projects, one with the old frame rate and one with the new.

That’s all there is to it. If you already have a project with the frame rate (and size) you want to copy over to the project to change, you can skip creating an empty project. Export XML(s). Copy and paste the contents of one line. Save As and import — you’re done.

Good luck.

— Fox

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Hinged CRT User Guide https://fcpxtemplates.com/hinged-crt-generator/ Thu, 30 Nov 2017 09:40:23 +0000 https://fcpxtemplates.com/?p=4418 Hinged CRT Generator User Guide I want my LiveType® TV! This is not a complicated effect. It’s basically a drop zone with window dressing. This effect requires the installation of a special font used to create the 3D text effect graphics (included with the plugin download). Parameters: This generator is auto animated via the optional […]

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Hinged CRT Generator

User Guide

I want my LiveType® TV!

This is not a complicated effect. It’s basically a drop zone with window dressing. This effect requires the installation of a special font used to create the 3D text effect graphics (included with the plugin download).

Parameters:

Hinged CRT FCPX Plugin Parameters
Hinged CRT Plugin Parameters

This generator is auto animated via the optional Build In and Build Out parameters. The Build In animates the CRT up into view with a turn (just like the original). The Build Out turns the CRT and pulls it back out of the scene. There are other controls that can be keyframed to customize animations however you like and they can even be used to supplement the default animations.

There are sixteen default animations, eight standard and another eight with the turn direction reversed. CRT is animated from scene edges (top, bottom, right and left) and the Long descriptor means horizontal orientation of the CRT while Tall means vertical. The turn for all orientations is screen up to face front. The turn, if Change Direction is checked is screen down to face front.

Hinged CRT Modes
Build Animation Modes

First trick:
Set up the Hinged CRT generator as if it were a completely finished effect including all keyframed animations. Blade through the middle of the generator (all keyframes will remain intact) and change the Build Out animation to move in the opposite direction by selecting the Change Direction checkbox.

The Zoom slider will increase the size of the CRT to slightly larger than 1920 x 1080. For larger format media, use the Video Inspector Scale All parameter. It will still look great!

The Horizontal, Vertical and Rotation Offset parameters can be used to customize animations, even the Build In/Out animations already in progress! Rotation reorients the entire Hinged CRT model, not the CRT in the hinge mount.

The front screen “glass” effect looks a little lame… due to the nature of 3D surfaces in Final Cut, there’s not much that can be done. A Reflection Amount parameter has been added to help reduce the otherwise sharp edge effect in the glass. Another technique to disguise its appearance is to rotate the CRT about -7º to shift the shine slightly and smooth out the edges.

The next section of parameters deals with the Drop Zone. Select the Drop Zone source well and FCPX will present a “two-up” display in the Viewer. Select your source media from the Event browser. If your media is to be video, then as you mouse over the video in the Event Browser, the cursor will change to a pointing finger and you should see a skimmer bar. Keep an eye in the viewer and where you click on the Event thumbnail will select your first frame of video to be used. If choosing an image? It doesn’t really matter where you click.

The Drop Zone can also be filled with any kind of video you create in the storyline. You can combine video, photos, titles and generators just as you would for your normal video presentation. Bundle all the pieces to be used into a Compound clip and select the starting frame from your compound clip right in the storyline. Once you fill a Drop Zone with media in the storyline, you may simply delete that media from the storyline and the drop zone will retain what was placed in it. This is especially convenient if you need to simply place Title text in the CRT without having to make a compound clip. Once loaded, reuse the title for another instance of Hinged CRT or simply delete or “hide” the title (typing the V key on any kind of selection will toggle its “visibility” [or turn on/off audio as well.])

There are Pan and Scale controls to help align and/or fit video into the CRT screen. You may also changed the background color of the dropped material (e.g. text) with the BG Fill Color. The color selected will appear slightly different due to the design of the 3D model. Color “richness” can be compensated with the Contrast, Brightness and Gamma controls at the bottom of the parameter list.

Bad TV options are on be default but minimally used (scan lines). Unchecking Bad TV will present a “straight” media image with no “old TV” effects.

Waviness is a good way to provide “glitch”. Keyframe a jump into Waviness to last about a second and jump back out (reset to 0).

Roll is best used by setting from one extreme and keyframing to the other depending on the direction of the roll.  That action will give two “flips” through the image and looks convincing even when the Drop Zone media is scaled down (creating a rather large border between the two rolled images).

Static, like waviness, is best used in moderation, but the choice for all of these features is yours!

Reducing Color Sync will give the image color edges (faded red and cyan – probably looks somewhat “cool” with red-cyan 3D glasses :D).

Old TVs were very “flexible” in their display of onscreen images — the Saturation control can help with that little bit of realism as well.

The next three parameters deal with scan lines. You really have to play with them in conjunction with each other. The number of effects achieved cannot be enumerated here.

And last, the previously mentioned Contrast, Brightness and Gamma Controls. These can be used to adjust the actual dropped image in the Drop Zone.

 

Have fun!

[LiveType® is a registered trademark of Apple, Inc.]

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Shatter 3.2 User Guide https://fcpxtemplates.com/shatter-3-2-user-guide/ Thu, 28 Sep 2017 07:51:20 +0000 https://fcpxtemplates.com/?p=3921 Shatter 3.2 is a “break-out” effect simulating breaking glass. The optical effect is created by a specially crafted font with exceptional precision and using 3D Text to take advantage of very realistic lighting effects. It will be well worth the effort to get to know this Final Cut Pro visual effect in order to get […]

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Shatter 3.2 is a “break-out” effect simulating breaking glass. The optical effect is created by a specially crafted font with exceptional precision and using 3D Text to take advantage of very realistic lighting effects. It will be well worth the effort to get to know this Final Cut Pro visual effect in order to get the most out of it.

Shatter 3.2 requires the installation of a provided font (ZZSC Shatter Glass-Regular.ttf). User Font Book to install into your User collection, or create a custom collection for the font. You must restart FCPX before it will become available.

By itself, Shatter does nothing. It requires interaction. It can be used as a still effect, or it can be animated.

Looking at the parameters, there are five groups:
Shatter Generator by sight-creations — FCPXTemplates.com

The top portion is the drop zone, transform parameters and a Thickness parameter. The shatter effect utilizes “real 3D” and requires installation of a specific font (supplied with the effect and requires installation before using in Final Cut.)

The next group are the Travel Parameters. These are the primary parameters for animating in Final Cut.  The next group are the Animation Options which can be used to set up the ranges of the “travel” in 3D space. The next group allows you to randomize how the animation occurs. The last group allow you to customize the look of the drop zone media making it appear either solid or transparent. The real 3D features of this effect also provide for light reflections as well as an environment reflection.

In the beginning, the most important parameters are the Travel Parameters. They determine the movement of pieces in straight line Z, rotation amount, and gravitational pull. The Shatter effect has two built in methods of fading. The gravitational motion fade is automatic and cannot be overridden (except by increasing the Gravitational  Distance parameters to a larger amount which delays where the onset of decreasing opacity comes into play.) There is an optional Z Distance End Opacity that is tied to the Z Distance Travel %. It does exactly what it looks like: animates the opacity of shard pieces over the distance traveled. At 100% travel, the pieces will have the opacity set by this parameter.

With Shatter installed and available in Final Cut, add it to the storyline either in the storyline by itself or over another clip. The default look is a custom Drop Zone image that comes with the effect. Leave it for now.

The first thing to do is move the Z Travel Dist. % parameter. This parameter moves the shatter pieces from 0 (default) to Maximum Z distance by percent (max Z can also be a negative value — the pieces will move away from the viewer instead of toward). Move the slider slightly and observe the behavior. Reset the slider and do the same with Rotation Amount. Like it? Now move the Gravitational Travel slider slowly.  These will be the three main parameters you will most likely animate, although you could choose to animation only one for a particular effect.  The Z Travel Group size determines how many shard pieces move “together” at roughly the same time. The default is 250 to get them all moving more or less immediately. Setting this to 0 will make a piece “pop off” and travel immediately to its end position. A setting of one will look more natural as one piece appears to move through its travel space at a time, and so on.

Keyframing in Final Cut is quite easy. I’ll leave that information to other sources if you need help.

There are randomization controls so that you can change up which pieces behave which way at any given time. The Randomize controls sport a “yin/yang” set of arrows. Simply click on that small icon to change the parameter value. The Variance controls determine how much random difference is employed. (The Gravitational Variance does not have this control – just a random value.) The Z Minimum Variance has a value range from -100% to 100%. Using the slider will stop at 0 on the minimum range, but you can click and drag down on the number to take it down to -100. Rotation Variance stops at zero using the slider or click/drag.

The final section, Glass Properties, will probably be the most difficult to use (and to explain!) The default values should give a good approximation of what the original clip should look like outside the Shatter effect with the exception of a slight reflection of the “environment” on the image. All of these parameters can be keyframed to control how they behave over time (not that anyone is likely to, but it could help out if you care to learn about them.)

Glass Properties

Reflective Light. A bit of a misnomer. It is a compound “effect”. Dial down the disclosure triangle to reveal Lights and Environment.  If you dial down Environment to zero, you can eliminate its reflected effect on your image completely. The Lights control can be used to control shadows that you may want to appear in your animations or displacements. These parameters are capable of very large number values if you click and drag directly on the numbers.

Surface Shininess determines a more “glass-like” reflection as it approaches 100%.

Surface Blend is the amount of the image blended into the surface reflected light. At 0% (no blend) you will barely perceive much of your image.

Environmental Intensity is the amount of the Environment (allowed by Reflective Light > Environment) that is “infused” into the image.

Env. Contrast: increasing this parameter to large values will “clarify” the “reflected” environment with the image. Reducing this value towards 0 will blur the environment effect in your image.

Saturation is the amount of color value infused with the reflected environment.

Material Opacity is the opacity of the image in the shard character. Dialing this value down is how to a achieve a more transparent glass-like look.

Refl. Img Brightness is the best way to compensate for the “fade” induced by Material Opacities less than 100%.

The accuracy of the descriptions of “Glass Properties” is not 100%. The explanation of each parameter is beyond the scope of this document. The explanation of “behavior” is more a less a guide for your use of the parameters. Feel free to “play with” their interactions. You can always reset all the parameters to their default values by clicking the reset button on the far right edge of the parameter’s cell that becomes visible as you mouse over the parameter.

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SC Motion Blurs User Guide https://fcpxtemplates.com/sc-motion-blurs-user-guide/ Fri, 22 Sep 2017 07:44:51 +0000 https://fcpxtemplates.com/?p=3890 SC Motion Blurs User Guide (brief) These are effects. Drop them directly on video clips, titles, generators or transitions. There are no parameters to edit. There is nothing to add on, resize, or sync to the storyline. They can be used on compound clips as well. These are simple – just drag and drop the […]

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SC Motion Blurs User Guide (brief)

These are effects. Drop them directly on video clips, titles, generators or transitions. There are no parameters to edit. There is nothing to add on, resize, or sync to the storyline. They can be used on compound clips as well.

These are simple – just drag and drop the blur you want on your clip. You can also experiment and drop more than on one as well. Every effect has a On-Off switch at the upper left edge by its name so they can be toggled. Find a combination that’s right for you.

Since these are effects, Effects Masks can be applied to limit the region within the scene that the motion blur will be applied to.

Basics:

Motion Blurs are named Motion Blur + number of repeats (“samples”) + shutter angle. The faster the video, the smaller the shutter angle (typically, there are no rules!) On the other extreme, it is possible to make a scene look like it was faster than it was and shot in slow motion (try the 1800º shutter angle).

The number of repeats will begin to cost in render time. Up to 8 and you will hardly notice the difference. More than 8 and rendering will begin to take a little longer. Rendering will also depend on the video – if you’re applying the effect to full frame video, expect longer rendering. Animated titles and small shapes (generators, etc.) are not likely to take as long.

If you’re not getting quite the effect you want, try adding two or three Motion Blur effects to a clip (either the same or mix them up!)

Note:
If adding a Motion Blur doesn’t seem to have an obvious effect, that motion in the scene is not likely fast enough to see it. If you are “forcing” the effect, use longer shutter angles (up to 1800º — which is the limit Motion provides.)

Using Motion Blurs with long shutter angles will affect the beginning and ending frames of your clip (darkening will occur.)

Recently added:
Motion Blur Custom. Technically not a motion blur, but an artificial blurring using one of Motion’s built in effects. It has its uses. Try it out!

 

Installation:
SC Motion Blurs is already bundled as an Effects Category. Inside are several subdivided “theme” folders (based on the shutter angles of the blurs). Simply drag and drop the SC Motion Blurs folder onto the Effects folder inside Motion Templates. If you don’t know where that is, you may need to create it. See these instructions to take you to that point: https://fcpxtemplates.com/install4fcpx/latest.htm.

You can purchase SC Motion Blurs here:

SC Motion Blurs

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Talking Head User Guide https://fcpxtemplates.com/talking-head-user-guide/ Thu, 21 Sep 2017 02:18:34 +0000 https://fcpxtemplates.com/?p=3870 Talking Head User Guide — FCPXTemplates.com Video layouts and title animation made easy. Talking Head was inspired by news channel format for “remote” interviews. A talking head is usually a camera shot in a kind of Picture-in-Picture format. However, most picture-in-picture effects for Final Cut are accomplished by the use of Titles or Generators using […]

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Talking Head User Guide — FCPXTemplates.com

Video layouts and title animation made easy.

Talking Head by Sight-Creations — fcpxtemplates.com

Talking Head was inspired by news channel format for “remote” interviews. A talking head is usually a camera shot in a kind of Picture-in-Picture format. However, most picture-in-picture effects for Final Cut are accomplished by the use of Titles or Generators using Drop Zones.  Anytime a drop zone is involved, all audio from any clip applied to the drop zone is gone.  If audio is needed, the audio track must by reapplied to the storyline and manually sync’d for the drop zone media. Talking Head is not a drop zone – it is the actual clip with all its properties loosened from the confines of the video full frame.

Talking Head has an OnScreen Control (OSC) to assist in making your clip layouts exceptionally easy. Size your Talking Head with the Dimensions parameter (dial down the disclosure triangle to set the Width and Height separately) then drag it into position with the OSC. Use the Horizontal and Vertical Img Offsets to reveal the portion of your clip required and use Image Scale if necessary to fit your subject inside the dimensions you have set. It is possible to animate the Horizontal and Vertical Img Offsets to slide your subject into the Talking Head “space”. There are controls for “Fill Color” and Fill Opacity to create a custom solid color background, or set the Opacity to zero to have the clip below show through.  There are similar controls for the border.

Talking Head is a “modular” effect. It can be applied along with any other effect and it is layer sensitive (effects added after Talking Head will affect the Border and Fill (if exposed). You can change the order of effects applied to a clip by using the mouse to drag them in the Video Inspector over or above other effects already applied.

Using Talking Head to create custom title effects

When added to a title like Basic Title, Talking Head can turn the title into text with a background fill, or outlined, or both. Text can be animated by Position and Rotation via the Position and Rotation controls added by the effect. Text can be animated inside the Talking Head frame to make a scrolling text effect, or a “news crawl” effect. Use the Horizontal and/or Vertical Img Offset parameters to keyframe the animation. See the video below for ideas.

Layering

More than one Talking Head can be applied to a clip to create other effects as well, for example:

Example of two Talking Head effects applied to one clip.

Talking Head 1, blue outlined clip. Talking Head 2, orange outlined with white background.

Tip for building a “slide” in effect:

The best workflow is to build your “final” layout. Size all your Talking Head effects in the “canvas”.  Move the playhead into the clip by a few seconds. Set a Keyframe on the Center Location parameter and the Dimensions parameter. Back up the playhead several frames (depending how fast you want the effect to animate – it can be changed later). Set the Dimension Width (or Height) to zero. Use the OSC (or click and drag on the Center Location X parameter) to move the Talking Head clip to line up next to the section you want it to expand from. Play. If done correctly, the left (or right) edge will remain stationary and the clip width will expand to fill the originally designed area. See video for example.

 

Talking Head Effect for Final Cut Pro

 

 

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SC KeyFX Tips https://fcpxtemplates.com/sc-keyfx-tips/ Sun, 10 Sep 2017 04:06:56 +0000 https://fcpxtemplates.com/?p=3655 Dear User, Thank you for your interest in SC KeyFX for Final Cut Pro. I have been working with these effects for that last year and a half and it is my sincere belief that with these effects you will be able to go from a simple “cutter” to a special effects artist quickly and […]

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Dear User,

Thank you for your interest in SC KeyFX for Final Cut Pro. I have been working with these effects for that last year and a half and it is my sincere belief that with these effects you will be able to go from a simple “cutter” to a special effects artist quickly and easily. The possibilities are virtually endless! As such, a single User Guide has proven somewhat impossible. These are easy to use effects, just dig in!

KeyFX effects are designed to exploit the Effects Masks feature of Final Cut Pro. Ironically, these effects will not work in Motion. They are grouped together as “Key” effects since that is their general behavior, however, there is no rule requiring the colors to be green or blue as in their respective screens. Any color can be selected and you may opt to use them full screen if you so choose. A range of colors can be selected (two hues can be chosen effectively; more than that will generally require the addition of another effect of the same kind (easily done by selecting the storyline clip and Copy > Paste Effects or command-option-V) then choosing other colors in subsequent additions.

scKeyer is the simplest and will probably be the least used effect of the set, however, it provides no distractions for the following guide.

There are no parameters to scKeyer other than a checkbox to Apply Mask. A mask must be applied for this effect to do anything.

When you mouse over the scKeyer titlebar, a small icon will appear — this is the effect masks menu.

Clicking on the icon presents the available options:

You get one color mask per effect added and as many shape masks as you need.

Adding a color mask provides an eyedropper tool. This is the same kind of tool you would find in a photoediting application and it is used in the same manner. Clicking on a color selects that color (in a very narrow range — about 2% — of the Hue-saturation-value of the color when Softness is set to zero). Holding the shift key down and clicking will add more color to the selection. Holding the option key is supposed to subtract a color from a selection, but that doesn’t always work. If you have to subtract color, you either have to start over or type Command-Z to undo the last “steps” (unlimited). It is possible to restart a selection by not holding any keys down and clicking on any color.

Once you have applied any type of mask, check the Apply Mask option if it exists or there will be an Opacity slider (as in scKey Fill). One exception is the scKey Gradient effect which starts with the gradient full screen so that you can design it. Then slide the Opacity to zero to select a mask and reapply opacity and Blend Mode.

Notice the blend mode (“Add”) – is grayed and cannot be changed (at this point).

When adding a Shape Mask, it is added above the first added mask (in this case a Color Mask). Notice the Blend Modes. The shape mask takes on the Add mode and the color mask switches to the Intersect mode and it becomes selectable.

Masks can be rearranged by clicking on the name and dragging it to a new position in the mask list, which is helpful when blending modes need to be manipulated. Typically, you will want a Color Mask to be the dominant mask and the shape masks used as garbage mattes or to isolate the color mask to a specific region.

The options for blending are Add, Subtract and Intersect. Add is obvious – wherever an Add mask is applied, the selection will include all regions. Subtract will literally subtract the region of the lower mask from the upper mask. Intersect will act as a “limiter” meaning that the selected area will only fill the region provided by the lower mask on the list.

Multiple shape masks are going to get a little complicated. Just know you can manipulate the list order and masking to create the effect you need… generally.

If things get too compicated… add another effect and use an extra set of masks — all added effects “instances” are cumulative!

KeyFX are modular. Drag and drop what you need on your clips to add these functionalities. There are five “core” effects: scKeyer, scKey Fill, scKey Gradient, scKey Clone, and scKey Replace which is a great deal like a regular keyer except the background is filled with drop zone media instead of having to line up two clips one above the other. scKey Replace also makes it easier to match up the inside/outside mask edges through the utilization of blending modes and/or setting the original media to luminance values by removing saturation and adjusting the brightness — this makes scKey Replace a generally better option than scKeyer to use when using greenscreens or bluescreens (or any other color background that is more or less solid).

Some of the other effects in the set are “support” effects. Spill Suppress is useful to remove a color fringe (typically green from green screen media) or any other dominant color around the edge of a selection. Matte Magic will only work with scKeyer (and if you have to use it — it will require enlarging the media to a scale of 102% to remove a soft border that will appear.) scKey Sharpen is included (great effect – you’ll love it). Matte Shadow will allow you to provide a drop shadow for scKeyer effects (or scKey Fill if the blend mode is set to Silhouette Alpha).

The rest of the effects provided are for fun. They include Grain, scKey Cellular, scKey Checkerboard, scKey Grid, scKey Halftone, scKey Lens Flare, scKey Manga, scKey Op Art 1, scKey Rays, and scKeys Stripes (others might be included by the time these ship.) Most of these will be used to “fill” keyed out backgrounds or skies.

You will need to practice somewhat to get the best result from these effects. Below are a few tips and practice files have been provided so that you can begin to get a “feel” for the behaviors.

There are a few pattern generators provided for practice (they will be located in a “Practice” folder and will need installing as generators for FCPX).

Tips:

Set the Softness value of a color mask to 0 when making selections and try to capture as much of a color without “bleeding” into unwanted regions of the image. You will see what that means when you start pushing the amount of color needed. When bleeding begins to occur, back up with command-Z and try adding Softness before resorting to using shape masks if you can. Softness will work best with narrower ranges of color selection.

Try to make a color range selection with as few “clicks” as possible when shift clicking. Start on the light end of the scale and work towards the dark. For green screens, start close to the subject and work out. This might mean you will need to start the selection process a few times for the best result.

If you are removing a green (or blue) screen, try to collect as much of a hue as possible. Click and drag to gather as much of the green or blue as possible. Shift click to pick up the any remaining regions. The fringe areas around subjects will likely be the most difficult to eliminate (there’s usually always a fringe from backlight). Increase the scale of the Viewer and work as close to the subject as possible. Add modest amounts of Softness (too much will cause fade spots in your subject). Finish it off with Spill Suppress (more below). [If this sounds contrary to the previous tip, it is. Every clip is different and your approach may have to change depending on its quality.]

Clip quality will play a large part in your ability to make good selections. What is meant by clip quality? Bandwidth. Highly compressed video will have very little “latitude” to “push”. “JPEG artifacts” (blockiness) is a telltale indicator of low quality video. Your video clip might look “marvelous” just as it is, but try to change any feature like saturation or brightness might make those compression artifacts exceptionally obvious. High quality clips can be pushed quite a bit and no matter what you add into the image, it will look great. [“Push” is a term borrowed from photography whereby the base film is a specific ISO but pushed to be a higher ISO than rated and image “density” is compensated for by prolonging the development time. This technique is notorious for introducing more grain into the image. The “latitude” of film/processing is how far you can take this process and still obtain “acceptable” results. Measurement is usually done in “stops” or f-stop change from the normal for the film. As an example, ISO 400 film pushed to ISO 4800 is a push of ~3 1/2 stops. Tri-X ISO400 film had a latitude of ~4 stops or 16 times its base rating.]

Occasionally View Masks to check your progress. It is possible to Command-Z undo steps if you need to back up, or simply start over by releasing the shift key and making a selection.

Any number of KeyFX effects can be added to make more complex selections/effects. These effects are exceptionally “light weight” and will render in “respectable” time (quite fast actually). Experimentation is worthwhile! When re-coloring a scene, it will not be unusual to have several scKey Fill effects added to a clip. You may also want to sharpen color (or shape) selected areas (although the entire frame is the default), add a Lens Flare, or one or two of the other “fun” effects to your scene. Everything can be blended rather seamlessly into your scenes.

Use Softness to close any fringes that might occur. However, there will be plenty if instances where you will want a color mask to bleed over other colors and using color blend modes to smooth out the influence of the added color (or media).

[left image: original; right image: 3 Fill, 1 Gradient, 1 Sharpen (water surface + beach regions) effects added (sample frame ©Pond5)]

Use blend modes to create more natural effects. For all the “fill” effects, try setting the Saturation to 0 and using a color with a blend. Use the Value (or Brightness) parameter to help match inside/outside mask regions to help remove any fringing that might occur.

Spill Suppress is typically used with a keyer. Spill suppress can be used with just about any of the effects. Using a green screen as an example, add Spill Suppress and use a Color Mask to select any remaining green in the image, then turn on the suppression. That will keep Spill Suppression from affecting any other color in the image. If using it for any other color than green, change the Color parameter to match the selection. Note: for green screens, it is often helpful to dial down the Color disclosure triangle and increase the Red value, particularly for areas around hair (even blonde!) It is frequently useful to pull the white tag down on Spill Contrast levels. Extra Contrast controls have been added to Spill Suppress to assist in de-fringing. Use after you’ve gotten the best results you can from the “top” parameters.

When using chroma screen media, better results will be obtained using scKey Replace. Place the “behind” media in the Drop Zone. Blending edges will become easier in the “all-in-one” effect.

If you need an “inside/outside” color masking setup, create a first color mask for the inside selection, then select the clip in the storyline (yellow outline) and Copy; then Option-Command-V (paste effects) to make a duplicate. Switch the masking of the pasted effect by selecting Invert Masks from the mask menu. For example: the “Pleasantville effect”, the main selection use a scKey Fill effect to isolate the preserved color regions then for the inverted copy, duplicate the Fill effect, invert the mask, set the opacity to 0% and set the Base Saturation to 0.

The color mask can effectively select two concurrent hues (although it has trouble with complementary [opposite] colors). Going beyond that will cause some unusual results (but if you need to – go for it!)

Any number of Shape masks can be added to constrain the selection or to mask unwanted areas of a selection.

Don’t forget that even more complex layering of effects can be accomplished with Compound clips.

Effects can also be added to Titles and Generators in Final Cut and parameters will be available in the Video inspector tab.

These are a powerful set of tools with which you can accompish all kinds of special effects right in the the Final Cut storyline, from simple color accents to the very sophisticated. No need to use any other application.

There are many other effects that ship with Final Cut that can use masking in the same way. Once you get used to dealing with effects on this level, they will never be the same again! As an example, try making a color selection with Gaussian (blur) and inverting it. Increase the blur Amount. Use a Shape mask inverted for a “tilt-shift” effect.

Enjoy your adventures!

F.X. Mahoney

sight-creations | fcpxtemplates.com

Available here: https://fcpxtemplates.com/product/sc-keyfx/

 

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The Wand User Guide https://fcpxtemplates.com/wand-user-guide/ Wed, 26 Jul 2017 02:45:24 +0000 https://fcpxtemplates.com/?p=3411 The Wand a title for FCPX Installation instructions: https://fcpxtemplates.com/install4fcpx/latest.htm A simple and elegant effect. The inference to a magic wand is on purpose. The Wand is truly a wide range effect. On the surface, The Wand looks like the simple divider it is. The scene is divided between the storyline and a background with “auxiliary […]

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The Wand

a title for FCPX

Installation instructions: https://fcpxtemplates.com/install4fcpx/latest.htm

A simple and elegant effect.

The inference to a magic wand is on purpose. The Wand is truly a wide range effect.

On the surface, The Wand looks like the simple divider it is. The scene is divided between the storyline and a background with “auxiliary text”. Animating the divider across the text creates a text reveal. There is a built in Drop Zone behind the background (revealed by lowering the color solid opacity) creating a split screen effect with built in text. With the split screen effect and animating the divider, this template is turned into a “wipe” transition. Animating positioning and rotation of the divider, very interesting and complex wipe effects are easily accomplished!

There is an OSC with a “post”. The OSC controls a line. The post controls the angle of the line. The line divides the scene into whatever is below the title clip down to the storyline and either a solid color background or a drop zone for any other kind of media (or both with opacity on the solid color). On the solid color/drop zone side, there is a text object which can be used as a text reveal title, or hidden (recommended to change the text to just a few space characters so as not to lose the text bounding box).

That’s it.

That’s not it. Since this is a title template, and titles accumulate whatever is underneath them, it is possible to stack a number of “instances” of The Wand to create custom multidivider effects. Since this title contains a drop zone for a background, it can be used as a split screen. Since it is “stackable”, it can be used to create multi-split scenes (see below).

This is the OSC (onscreen control).

The default divider is black and 12000 pixels long. This title will work on up to 5K (and possibly 8K) video. [Tested on 4K.] The OSC is *always* at the center of the line. The line rotates around this point. Drag the post around to set the angle of the dividing line. The rotational span values go from -720° to +720° giving you a maximum of four complete revolutions of keyframed animation (only if you start at one end of the 720 range and go to the other). Since the default orientation of the divider is 90° (vertical), that will limit the number of complete revolutions to three, in general. Most of the time, you will probably only be concerned with intervals of 180° of movement.

When the title clip is selected, the auxiliary text is selectable as well. You can use a mouse to move the text around on the screen to where you need it positioned, even if the text is obscured by the “foreground” side of the divide. You do, however, have to mouse over its region (a bounding box will appear).

Text can be animated as well. There are position and rotation controls in the FONT PARAMETERS section for your keyframing needs.

Below is a few examples to get you started and see the demo video below.

A clock wipe is easily accomplished by placing the OSC center along the edge of the video and rotating the line across the scene.

Animating The Wand to create a text reveal

When mousing over a parameter that can be animated, a keyframe mark appears. Every parameter that shows the mark when mousing over it can be keyframed (that includes colors!)

Clicking on the keyframe mark will cause it to become filled (a solid diamond shape). You can set a keyframe and make changes to the parameter or vice versa. The order does not matter. Once set, all that needs to be done is to move the playhead to another point in time then update that parameter to whatever new setting is needed. Final Cut will interpolate values between the two keyframed values and the animation is executed. This template will often require keyframing if any movement is required. You’ve been given total control over how this template operates. If you need any further help with keyframing, there are many free tutorials available on YouTube or Vimeo.

Keyframing is easy and you will rock this template!

Set up The Wand to the “still” position you want the animation to pause.

Move the playhead to about 15 or so frames from the beginning and set a keyframe. Move the playhead to about 15 frames from the end and set another keyframe. Move the playhead to the beginning and move the divider just off the screen. Move the playhead to the end and move the divider to its end position. Play.

Solid color backgrounds can be any color you like and with opacity turned down, used to color cast the drop zone media behind.

To easily create an effect like the following, set the initial angle of a first title instance, then Option-drag a copy over the original. Use the OSC to slide the divider to a new position.

To line up multiple copies like this, multi select all of the titles used at once.

This will turn on all of the OSCs at once and you can fine tune the lineup (and you can also “do the math” and use the published position parameters for more accuracy). Dragging the OSC center control will not change the angle of the divider line.

Here’s an example of a creative alternative to the above layout.

Example of 4K video

Using the effect artistically by keeping a solid color section

Simultaneously adjusting the alignments of multiple “The Wand” titles

Staggering the effect to wipe on three extra splits over time.

 

The published parameters:

Experiment! Enjoy!

Demo:

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Vegas Baby Title https://fcpxtemplates.com/vegas-baby-title/ Mon, 10 Jul 2017 08:09:44 +0000 https://fcpxtemplates.com/?p=3358 Vegas Baby Title for FCPX Installation instructions: https://fcpxtemplates.com/install4fcpx/latest.htm User Guide The iconic Las Vegas Welcome sign was designed in 1959 by Betty Willis. It is in the style of “Googie Architecture” (FYI). She gave the design as a gift to the City of Las Vegas without copyright. It is in the public domain. Vegas Baby […]

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Vegas Baby

Title for FCPX

Installation instructions: https://fcpxtemplates.com/install4fcpx/latest.htm

User Guide

The iconic Las Vegas Welcome sign was designed in 1959 by Betty Willis. It is in the style of “Googie Architecture” (FYI). She gave the design as a gift to the City of Las Vegas without copyright. It is in the public domain.

Vegas Baby is a 3D Text title for Final Cut Pro. It requires FCPX 10.3.4 or better, a video card with a minimum of 1GB of vRAM, and the installation of a specialized font (ZZSCVegasBaby-Regular.ttf) responsible for the “neon” letters and the sign shapes (it will be necessary to restart FCPX after installation of the font).

Vegas Baby is a complex effect with flashing lights and special textures (coin faces) and animations on two separate sides. Expect long render times. When dealing with the title in the FCPX storyline, it is best to set the View > Quality to Better Performance. Since Vegas Baby performs “reasonably well” using Better Performance, it was deemed eligible to be released. Please be patient with it!

Vegas Baby features an easily customizable “banner” (circled letters) and drop zone panels on the front and back sides. Separate titling for the front and back panels. Titling and drop zones can be combined. Complex text formatting will need to be handled via imported image/video or by creating compound clips in the storyline. An example would be any text message with more than one font used.

A 3D OSC (on-screen control) has been applied to this effect. For this reason, none of the text in the title is editable in the viewer but text boxes have been added to the Inspector to make text changes. To use the OSC simply single-click on the Vegas Baby panel and wait about 1 second. A Rectangular outline will appear and a 3D directional control will appear near the center of the rectangle region. It’s a hack… but it works. You can use the 3D control to keyframe rotation, but positioning via keyframe will have to be manually done with the parameter values in the Inspector. [Note: the OSC is a text character itself which is editable in FCPX – ignore anything you see in the Text Inspector as it pertains to this character used for the 3D onscreen control. If you accidentally change the character, its default is the character zero (‘0’) and its size is 856.0 if you find you need to manually reset these values.]

The Coin Features (Banner) Section

The neon letters in the circle shapes at the top of the panel are considered the banner. As with the real sign, the front surface of the circular regions have the pattern of a 1922 “Peace” silver dollar. The “coins” are not “regular” and each surface of the original WELCOME sign have different rotational orientations for the coins. This title has a feature to force them to align if you so choose — set the Coin Rot. Variance to 0% and set the Coin Rotation to orient the faces to the same angles across the characters of the banner.

In the Circle Text entry, you can enter anything from deleting the text (to completely remove the circled characters) to whatever you think can fit on a single line and still look good as a sign ;).  Whatever you enter will apply the characters (only a-z lowercase [and space] are supported), the coin circles and the rim “ring” lights. A space character will add a small separation between letters.

There is a fundmental “lighting” structure to this 3D model. Sometimes expected colors may seem darker (or lighter) than the values provided in the inspector. Make visual adjustments in the Viewer and don’t rely so heavily on the numerical values. For times when even the “brightest” color is not bright enough: the numerical values of the RGB color can be adjusted to greater and less than the absolutes provided by the corresponding sliders. Click on the individual numerical values for the R, G, and B elements and drag up to go beyond 1.0 and drag down to go below 0 (towards -1).

Due to the design of the template, text is not editable in the viewer. For each panel, there is only an option for one font. If you need more complex textual design (more  than one font, or font and graphics) create a compound clip in the storyline from titles and other graphics and add the compound clip to the drop zone for that panel. You can delete the compound clip from the storyline immediately after adding it to the template.

Flashing light animations will be affected by lengthening or shortening the time of the Vegas Baby title. Longer times will slow it down; shorter times will speed it up. Recommended length in storyline is about 5 – 15 seconds (10 is default). Ten seconds is a good length of time to leave this title active to give the viewer time to take in the whole effect.

The rest is fairly typical.

Published Paramters

ANIMATION CONTROL

Position — It is possible to position this template in the view with an OSC (described above). However, if you want to keyframe motion, you cannot use the OSC to make position changes. Use these parameters “manually” for keyframing. Another benefit of these parameters: no matter what rotational orientation you have set for the template, these parameters will move it in tradition X, Y & Z axes relative to the Viewer. Using the OSC: rotation changes the XYZ axis orientation as well. Position parameters override that orientation.

Rotation — Unlike Position, Rotation can be keyframed using the OSC. These parameters do not override those set in the Viewer.

Hide Stand — The blue stand can be removed from the scene to reduce the template to the basic sign.

Glow Amount — This is set to 3 by default. In general, this setting is likely the best setting. However, you can raise this value to create more “light halos” or turn it off altogether.

COIN FEATURES

Circle Text — This is where you enter the text for the “banner” section. Only lowercase alphabetic characters (a-z) are used for the effect. Other characters will not provide the correct visual effect.

Text Color Keep in mind that this is supposed to be a neon-like light. You will want to adjust this color to a value that will be enhanced by the glow effect.

Circle BG Color By default, this is set to 90% white. You can set this, and all colors in this template to “supercolors” (element values greater than 1.0 or less than 0.0).

Coin Face Intensity This determines how dark the “marks” are that create the coin “face”. Setting this to 0 will fade the coin face out completely creating a solid color background for the neon characters.  Setting this value to maximum intensity will help “punch through” the pattern if you adjust the Coin BG Color somewhat darker.

Coin Rotation The “real” Las Vegas Welcome sign has 1922 Peace dollars painted on the backgrounds at varying angles of rotation.  This is set at 360 (straight up) to help with the Variance (see below). When Variance is set to zero, all the coins are rotated to this value.

Coin Rot. Variance The variation from one coin to the next for the rotation. When Coin Rotation is 0, this has no effect. When Coin Rotation is non-zero, this parameter will randomize the rotation between 0 and the Coin Rotation value.

Var. Random… This is the Random Seed generator for the Variance. Click the “circle arrows” to generate a new “seed” value and change how the coins are varied.

Ring Light Color Each character in the banner also has a “ring light” — another “neon” (or florescent) type light around the rim of the “coin” background. Use this parameter to change its color (default is white).

Emit Intensity This parameter will change the brightness of the Ring Light color.

FRONT SIDE/BACK SIDE

(each section has identical parameters, both of which will be outlined in this section.

Front (Back) Text Use this text box to enter the text you want to appear on the sign panel. This can be used in conjunction with a drop zone (always appears on top).

Collection Font Book “collections” are supported with this template. If you manage your fonts with collections, you can set the collection here. For example, you have a collection of just “script” fonts, you can set this parameter to your scripts collection then search for the script font from that collection you are looking for without having to navigate a font menu that might be hundreds of fonts long.

Font Same as from the Title Inspector provided here for your convenience.

Size Same as from the Title Inspector provided here for your convenience.

Color Same as from the Title Inspector provided here for your convenience.

Weight This is a feature of 3D text. You can use this parameter to change the thickness of characters, make them more bold or more thin. Best practice: hold the Option key down while dragging the numeric value for more refined alteration.

Line Spacing Same as from the Title Inspector provided here for your convenience.

Tracking Same as from the Title Inspector provided here for your convenience.

Baseline Same as from the Title Inspector provided here for your convenience. Use this parameter to help vertically align the text where you want it to appear.

Drop Zone Optional. Drop Zones are pre-loaded with a transparent PNG so that the typical drop zone “symbol” does not appear.

Pan Use the X and Y parameters to adjust the alignment of the image in the panel.

Scale Use this parameter to size the media to fit within the panel.

Front (Back) Brightness As mentioned above, this is a 3D model and lighting is affected by things like angle of rotation. You can use this parameter to help override a “too shadowy” look, or tone it down if it’s too bright.

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Solari Strip User Guide https://fcpxtemplates.com/solari-strip-user-guide/ Fri, 07 Jul 2017 07:05:38 +0000 https://fcpxtemplates.com/?p=3334 Solari Strip Generator for FCPX Installation instructions: https://fcpxtemplates.com/install4fcpx/latest.htm User Guide Solari Strip is a “real” 3D effect. The Split-Flap animation is built with actual 3D modeled parts. The effect can be moved around in 3D space and still have a consistent “look”. Solari Strip is an easy to use generator. It features 14 Solari (or […]

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Solari Strip

Generator for FCPX

Installation instructions: https://fcpxtemplates.com/install4fcpx/latest.htm

User Guide

Solari Strip is a “real” 3D effect. The Split-Flap animation is built with actual 3D modeled parts. The effect can be moved around in 3D space and still have a consistent “look”.

Solari Strip is an easy to use generator. It features 14 Solari (or split-flap) character sections. Each section is limited to the characters A-Z and numbers 0-9 with spaces between the groups. An added feature is the ability to turn each split-flap character on or off to make creating layout “patterns” possible.

Solari Strip requires installation of a font: ZZSC Flipboard Parts provided with the download. Use Font Book to install the font. The font name starts with “ZZSC” to drop the font to the bottom of your font menu and out of the way of your regular fonts.

Published Parameters

This is a partial list. The SLOT # CONTROL sections are the same for all 14 split flap sections.

At the top of the inspector are the Position control in the scene. Position, Rotation and Scale plus the color of the “Back Panel”. Before releasing, a few other parameters have been added. They are:

Back Panel Opacity — it is possible to fade or completely turn off the back panel which is an effective way to make the Solari characters look as if they are part of the storyline background.

Back Panel Width — it is possible to turn off individual Solari characters in order to create your own formatting. For example, you need 2 slots for number and 7 slots for characters. You can adjust the width of the Back Panel to span just the 10 characters used (including a “gap” character).

Back Panel X Offset — allows you to align the Back Panel to any section or subsection of the solari characters.

Each Solari Strip generator will have its own OSC (on screen control) to allow you to easily position the strip in the Viewer.

SLOT CONTROLS

All Slot Control sections are the same for all characters.

Each section control is a menu to toggle on or off that “slot’s” solari (or split-flap) character. Turning off the character will leave a blank space.

Move the playhead to the beginning of the generator to set the Starting Character (Start Value), then move the playhead to the end of the generator to set the Ending Character (End Value).

The Start and End Offset parameters determine the (video) frame offsets from the beginning and end of the generator that animation begins and ends. You can completely customize how the characters change with these parameters. The default length of the generator is 300 frames. “Crossing” the start and end values will effectively freeze that Solari character to the End Value. Setting the Start Offset to 300 or more will “stick” the character at its Start Value.

The character sets (A-Z 0-9) loop so the starting and ending (Value) numbers can be just about any positive value. Please see the accompanying PDF file for number/character associations. This is a looping effect and to give the illusion of very fast action, you could set 2-3 spans of entire character sets before landing on the ending value.

If you set the Start Value to be a greater number than the End Value, that Solari Character will run “backwards”!

Recomendations

Do not set the Start and End Offsets to 0. Give the read a second or two to see the first set (Start Offset = 30 to 60). 

Vary the Ending times a little so that the flaps do not all finish at the same time (not very “real-life”).

Notes

Viewing the panel of character from behind, although possible, will look rather strange (only the “face” of the effect works as expected). This is why the Back Panel was provided. Use it if animating the Strip in rotation.

The Back Panel is simply a flat (no beveling or other styled corner) surface with depth. Lining up several generators will make a seemless surface even when overlapped (provided the Z-positions are exactly the same).

If you create a scene with several simultaneous instances of Solari Strip, be prepared for a rather long render time (on the upside: it will be worth it!) If placed in scenes in your movie that require further editing, consider “baking” the Solari Strip effect with transparency (ProRes 4444) and bringing the exported movie back into FCPX for application in your scene(s).

Even with one strip, rendering will be somewhat lengthy (depending on your Mac’s specifications).

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Rolling Credits II User Guide https://fcpxtemplates.com/rolling-credits-ii-user-guide/ Mon, 03 Jul 2017 23:58:24 +0000 https://fcpxtemplates.com/?p=3314 Rolling Credits II Generator for FCPX Installation instructions: https://fcpxtemplates.com/install4fcpx/latest.htm User Guide Rolling Credits II has been reworked from the ground up. It is a completely new template utilizing new features in Final Cut, and therefore will require version 10.3.4 or higher. What’s new? The original Rolling Credits applied text from the bottom up. Rolling Credits […]

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Rolling Credits II

Generator for FCPX

Installation instructions: https://fcpxtemplates.com/install4fcpx/latest.htm

User Guide

Rolling Credits II has been reworked from the ground up. It is a completely new template utilizing new features in Final Cut, and therefore will require version 10.3.4 or higher.

What’s new?

The original Rolling Credits applied text from the bottom up. Rolling Credits II applies text normally from the top down.

Auto-Shrink has been removed.

The original plain image (with border, or “photo” style) remains and three new ones have been added — 1) Slide, 2) Polaroid, and 3) Stamp.

 

Effect Opacity has been add for fading in/out without having to go to the Video Animation Palette.

Rotation for the Drop Zone has been added (it’s amazing to watch as even the rotated images will align with the same text control!)

Offset Parameters for the Drop Zone have been added which means it is possible to animate the drop zone in your titling sequence.

The original Rolling Credits uses a different font (Model Parts One). At the time of the font’s creation, it was not realized how it would appear in font menus, so a new font has been designed and its name will appear appropriately. (All new fonts created for templates all begin with ZZSC. The ZZ drops the font to the bottom of your font menus so that they will not interfere with your regular font workflows. The SC stands for Sight-Creations. The new font used for this template is ZZSC Rolling Credits. This font must be installed before you intend to use Rolling Credits II Generator.

   

Redesigned Rolling Credits font displays normally in font menus.

Demo of the new version:

Workflow:

Add Rolling Credits II (RCii) to the storyline. It can be added over video, a still, a gap or directly into the storyline if no background is required. Move the playhead to about the halfway mark into the generator. The default length is 15 seconds which is about the time it takes for the default “content” to move from just below the Viewer (let’s call it a “canvas”) to just out of sight above. However much content is added will require an adjustment to the Animation Speed parameter. Overall timing can be adjusted by lengthening the Generator in the storyline and adjusting the Animation Speed parameter. Once you have designed a “starting” pane, it is recommended to Option-drag copies to create subsequent panes to be filled with new text.

When RCii is selected in the storyline and you mouse over the canvas, a “bounding box” should appear dileneating the default “paragraph” size alotted for the text area. If you double click on this region, a ruler will appear and the bounding box outline will display control points at the centers and corners. These control points can be used to reshape the text area in the canvas. You have complete creative control over the formatting of your text.

For the best workflow, it is highly recommended that you maintain the vertical region for a “pane” of text and use multiple “instances” of RCii to achieve the entire credits layout. The benefit to this approach is that you have the option to include one image (and that is still optional) for each pane’s worth of text and the rendering time it takes FCPX will be at its minimum. When text is added to one instance of RCii and is longer than the canvas, rendering times can increase dramatically!

It is also recommended that you prepare a “first instance” with a set height (pane) and animation, then duplicate it (option click drag a copy) to create subsequent panes as this is the easiest way to keep animation flow consistent over time (although it is not that difficult to match animation with animation speed changes if they are necessary).

The view below shows the default layout of RCii with the ruler toggled on. Notice the bounding box is within the Title Safe region of the canvas. You are not required to stay within the Title safe region. In HD video, the “new title safe” is the old “action safe” bounds but there are no design laws that state you must stay within either. It should be noted that the drop zone automatically aligns to the bottom-most line in the text. Parameters are supplied for offsetting its position as well as the text alignments for left, center and right (to be used as starting points for the offsets).

If the ruler gets in the way or you’ve finished setting formatting tabs, you can turn its display off by clicking the small ruler icon at the top right corner of the canvas. If the ruler does not appear as expected, check the state of this icon, it may be necessary to turn the ruler display back on.

Right clicking in the ruler reveals the “Tab Stop” selection tool. To remove an unwanted tab stop, simply click on it and drag it off the ruler.

                  

This text model appears to be an adaptation of the original Macintosh Toolbox TextEdit which has been included with Macintosh since the very first model which shipped with only MacWrite and MacPaint. How to use this “tool” should be a skill every Mac user has. However, one last thing to mention:

If you copy formatted text from an .rtf (Rich Text Formatted) file and paste the contents into this generator, the formatting should be retained, including font, size, style, and tab stops, etc.

 

Notes:

The difference between Native DZ Scale and Media in Char Scale:

The drop zone has two treatments: by itself and as a part of another object. The “Native” parameters are applied to the drop zone itself. The other parameters are applied to the object in which the drop zone appears (the “picture frame”).

Why are both required?

Drop zones are a little strange. They have to be flexible enough to take any aspect ratio media. There is a further “complication” that the container is “cropped” (usually somewhat square, by default). When you change the Size of the drop zone in the canvas, the Drop Zone will need readjustment. To defeat the cropping that is applied, use the Native Scale (this applies to pan as well) first by decreasing the value until you can determine the aspect ratio is correct, then use the Media in Char Scale to fill the frame/space of the drop zone. Native Pan might hide part of the media behind the original crop — using it to center the media is more appropriate at this level. Using Media in Char Alignment will align the media within the drop zone style frame.

DZ Fill Opaque is on be default (some media sizes can “glitch” if they don’t correctly fill the space). Fill Opaque generally fixes that problem. However, if you’re using a transparent PNG, turning off Fill Opaque will be necessary (as in the F•X logo in the demo video).

 

Published Parameters:

Start Position (Y) — Use this parameter to move the content of the credits/text below or above the viewer. This parameter can be key framed. This parameter as well as the Y Animation parameter should be set after you have designed your text and drop zone areas.

Animation Speed — Use this parameter to set the motion of the Rolling Credits. A positive value will move the contents upwards. A negative value will move the contents in a downward direction. Move the playhead to the end of the generator and after setting the Start Y Position, drag the value of the Y Animation until the text just disappears off the other side of the viewer. That’s all!

Opacity — Sets the overall opacity of the entire effect. Use to fade credits on and off.

Drop Zone Size — Point size of the drop zone “holder”.

Drop Zone Alignment — A menu selection to align the drop zone relative to its text boundaries (Left, Center, Right).

Drop Zone Style — A menu selection to choose “Photo” (or plain), Slide, Polaroid, or Stamp.

Photo Style Border — If using the Photo Style, this parameter is used to set the border width. Use ‘0’ for no border (or plain).

DZ Border Color — This parameter can be used to set the border color regardless of Style.

DZ in Scene— Section Marker – not a parameter.

Use Drop Zone — A checkbox to select whether or not to use the Drop Zone for this instance.

DZ Location Offset — You can change the location of the drop zone relative to its position attached to the credit text.

Drop Zone Rotation — New Feature! A parameter to rotate the orientation of the drop zone. Alignment (left right center) is maintained.

Media in Char Align — The drop zone is applied as a “layer” over a rectangular shaped text character. This parameter can be used to offset the alignment on this character. Usually used in conjunction with the Native DZ Pan (see below).

Media in Char Scale — The drop zone is scaled relative to the text character. Usually used in conjunction with the Native DZ Scale (see below).

DZ Specifics — Section Marker – not a parameter.

Drop Zone — The source well to drop your media. Media can be an image or video and includes support for transparency.

Drop Zone Fill Color — When using Native DZ Scale and scaling smaller than the media’s native resolution, the Drop Zone Fill Color is used to fill around the edges of the media. Used in conjunction with DZ Fill Opaque (see next). *Note: if scaling the drop zone small enough to see the background color, there is a possibility of the media “glitching” (jumping around in position) if the drop zone background is not filled opaquely.

DZ Fill Opaque — A checkbox to select the option to fill the Drop Zone “region” with a solid color. Uncheck this option to use with transparency.

Native DZ Pan — This parameter offsets the alignment of the media within the region allotted for the drop zone.

Native DZ Scale — This parameter scales the medie with respect to the region allotted for the drop zone. It may often be necessary to scale down the drop zone media in order to restore its actual aspect then apply Media in Char Scale to scale the media up to fill the “layer” used as the drop zone holder.

DZ Media Rotation — Not only can you rotate the drop zone (holder), you can also use this parameter to rotate the media within the drop zone region. Use this to creatively misalign an image within its frame to look more “personal” or amateurish, etc.

Text and Font Params Section Marker – not a parameter.

These are the same parameters you can find in the Text Inspector republished here for your convenience.

Font

Size

Alignment

Line Spacing

Tracking

Text Color

Use the Text inspector to edit the text style further.

Note:   due to an apparent bug in FCPX which may cause instability, make sure you add all of the text you intend for a segment before you add formatting tabs to the layout. Once formatted, any changes to the text have been crashing FCPX. If you suffer this effect, please Send Final Cut Pro Feedback from the Final Cut Pro menu to Apple. [This note is from the original Rolling Credits generator and may still be applicable.]

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Artistic Magnifier User Guide https://fcpxtemplates.com/artistic-magnifier-user-guide/ Tue, 13 Jun 2017 21:37:33 +0000 https://fcpxtemplates.com/?p=3235 Artistic Magnifier A Title for FCPX User Guide Installation instructions: https://fcpxtemplates.com/install4fcpx/latest.htm Originally designed as a utility magnifier for tutorials and such, it turns out there are interesting visual side effects that make this effect usable anywhere! This effect was designed as a Title which allows any other object positioned below the title attached to the […]

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Artistic Magnifier

A Title for FCPX

User Guide

Installation instructions: https://fcpxtemplates.com/install4fcpx/latest.htm

Originally designed as a utility magnifier for tutorials and such, it turns out there are interesting visual side effects that make this effect usable anywhere!

This effect was designed as a Title which allows any other object positioned below the title attached to the storyline, including text. If you’re okay with a little softness in the text (which is also a nice effect occasionally), this effect can be used to “transition” text with a slight drift and marvelous fade.

This effect was designed so that the scaled media used in the magnified view region maintains an “edge alignment” proportional to the position of the magnified region within the view frame of the video. What that means is: when you align the edge of the magnifier region with any edge of the view frame, the scaled media also aligns with that edge. The magnifier is designed not to go beyond the view frame edge, it will always be contained within the view frame. This technique means that when the magnifier region moves away from the center of the screen, the scaled media also moves in the opposite direction. It is a very nice effect — a beautiful difference in parallax view of the scene and gives a subtle sense of “3D-ness” to the scene.

In the diagram below, the Magnifier region is moving along the direction of the green arrow and as it moves, the Scaled Media is moving toward the border of the Drop Zone/Storyline frame boundary in the direction of the red arrow, synchronized to coincide at the edges of the frame boundary. The Scale value determines how much movement is perceptible. 

Artisitc Magnifier Diagram
How scaled media moves with respect to the magnifier

Parameters

Artistic Magnifier parameters
Artistic Magnifier parameters

 

This effect has a single OSC (onscreen control) to assist in positioning in the viewer.  The position can be keyframed.

Width/Height: Due to the nature of the design for this effect, it was necessary to limit the width and height to only 1280 wide by 720 high. If you’d like to see how this was done, you can go into the Motion template in Motion and dig it out. It did require working a spreadsheet in Numbers to make the calculations necessary and for values beyond the 1280 horizontal and 1080 vertical, there was not enough room to add the number of control points necessary to handle the exponential expansion of values to make alignment for a larger region possible.  Maybe, someday, Apple will add a way to perform that kind of math automatically and this project will be updated. It is not necessary to keep these values proportional to each other. Within the bounds of the maxWidth and maxHeight, any size can be created (even 0 by 0) and keyframed for effect.

Scale: Range from 0% to 400%; default is 200% (or 2X). May be keyframed for effect. All scale values work with the math used for the region/scaled media edge alignments. However, when going smaller than 100%, it will be necessary to resize the width and height parameters if an outline boundary is desired.

Roundness: The magnifier region may have rounded corners. Rounding can also be used to create a more circular effect (although you may have trouble obtaining a “perfect circle”).

Border Color: keyframable value can be animated to change color over life, or simply be set for the life of the effect.

Border Opacity: keyframable value can be animated to fade in/out the border.

Border Width: keyframable value can be animated to adjust the weight of the boarder. The center of the border is the edge of the magnifier region. Using large values will obscure edge pixels.

First/Last Point Offsets: These parameters can be used to offset the beginning and end where the border is drawn around the region. These can be keyframed to create an (eye-catching) animation, typically drawing the box, or used to create an animated arrow (see the Outline Start and End Caps below).

Corner Style: when the region is set up as an unrounded rectangle and outlined with a line wider than 1 pixel, the corner style can be set to Square, Round or Bevel (which will create a 45° angle “cut” on the corners).

Outline Start/End Cap— There are four options: None (similar to Square), Square, Round, Bevel and Arrow. None ends at the actual control (corner) point whereas Square represents the center of a “fill” of a square that is “Width x Width”. Bevel cuts two 45° angles on the end and Arrow applies an arrow head. (Arrow size controls were not included with this effect: they were deemed superfluous for the most part).

Feather Edge/Falloff: These controls can be used to control a blurred and mixed edge between the magnifier region and the underlying media. There are values available beyond the slider, so click and drag the values up/down to create a larger feather.

Bg Overlay Color/Opacity: This effect includes a method of darkening the area outside the magnifier region, for effect. Color is black by default but may be set to any value and animated over time. Opacity is also a keyframable value that can be animated to fade in/out the color overlay.

AUTO ANIMATION section:

These parameters deal with transitioning the magnification effect.

Fade In Time: the number of frames to fade up from 0 to 100% opacity. Timing may be affected by stretching the effect’s timing in the storyline.

Fade Out Time: the number of frames to fade out from 100% to 0% opacity. Timing may be affected by stretching the effect’s timing in the storyline.

Start Offset: the number of frames before starting the Fade In.

End Offset: the number of frames before the end where the Fade Out ends.

These parameters controlling the fade of only the magnifier region allows animating other features before (and/or after) these Fades are applied.

Demo:
https://www.youtube.com/watch?v=KHlXaXq62O4

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3235
Fiesta https://fcpxtemplates.com/fiesta/ Mon, 05 Jun 2017 02:26:41 +0000 https://fcpxtemplates.com/?p=3180 Fiesta A Title for FCPX User Guide Installation instructions: https://fcpxtemplates.com/install4fcpx/latest.htm This looks like a lot of parameters, but they are broken down in to easy sections and in order of general importance, so to speak. This title has a “build in” and “build out” that animates the title into the scene at the beginning and […]

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Fiesta

A Title for FCPX

User Guide

Installation instructions: https://fcpxtemplates.com/install4fcpx/latest.htm

This looks like a lot of parameters, but they are broken down in to easy sections and in order of general importance, so to speak. This title has a “build in” and “build out” that animates the title into the scene at the beginning and out of the scene at the end. The lengths for both are 1/2 second which will remain constant whether the title is stretched out or reduced in the storyline. This title was designed to move, otherwise it would have been called “Siesta”.

Workflow Tips

If you select the title and type ‘/‘, the title will loop and you can make changes in real time. (If it doesn’t loop, type Command-L to toggle on looping).

If you do nothing, Fiesta will animate in from the top of the frame to the center of the view, stay for 4 seconds and animate out upwards off the screen.

Begin with the ANIMATION CONTROLS. Set a custom Direction In. Try -90° to start the animation in from the left side and set Direction Out to +90° to move the title out to the right at the end.

Go down to the RANDOMNESS section. Change Position Amount to about 30.

Add Z Rot. Rnd Amt – about -25 and increase the Angle Freq to about 0.3. (The slider only moves in the positive direction— click on the number and drag downward with the mouse.

Go down to the SPOT GENERATOR section and dial down the Spot Color(s) parameter. The default is a single white color:

Notice the Interpolation is set to Constant. This means you can create a discreet color “table” of colors to be applied to the random spots.

Right click on the small square under the left corner and select a color from the color palette popup.

Click on the bottom “bar” at another location to create a new “tab” and right click on it in the same way and pick a second color. Continue for as many colors as you would like to add.

Note: if you reset the Title from the top of the Title Parameter list, the published “gradient” tools will reset to a blue-gray to blue gradient with the Interpolations set to Continuous which creates a smooth gradient between the two tabbed colors. The behavior of the tool also changes and new tabs will also be continuous. To change back to Constant, strip off the end tab (click and drag straight down until it pulls off), click on the other tab and set the Interpolation to Constant. Then, as you add new tabs, they will also be Constant (again).

This same technique can be applied to the Text Coloring for banding colors on the text.

That is the fundamental, simple workflow. Experiment with all the rest. The parameter descriptions below should give you enough information for how to proceed.

To copy the settings from one instance of Fiesta to others, simply option-drag a copy to another location in the storyline. To Save a set of parameter settings, create a Compound Clip to use later.

Parameter Descriptions

Main Controls

Title Opacity: This parameter controls the overall opacity of everything in this title. It is helpful when animating the contents directly forward or directly backward into the scene.

Text Coloring: Although initially set to a single color, this control is a “Gradient” control which includes Opacity. The default setting for new color additions is “Constant” which will create a “banded” look. This setting can be changed any time and for any color swatch by changing the Interpolation to Continuous. Dial down the disclosure triangle to reveal the gradient parameter controls.

Animation Controls

Direction In/Out:  Presented is the Z axis direction control. 0° is straight up, 90° is due right, etc., so the angle is with respect to the line coming straight out of the screen. Dialing down the disclosure triangle reveals X and Y axis directions. X is left/right and Y is up/down.  Move the playhead to near the beginning of the title in the storyline to manipulate these values to determine from where the title moves into the scene. As an example, the default direction is from directly up. Increasing the X axis rotation to 90° will cause the starting position to be directly away from the viewer and -90 (or 270) will start the title behind the viewer (off-screen).  Use Y axis rotation will move the starting position left or right of the center line. It is best to position the playhead and watch where the title moves as these values are changed.

Amplify Direction: The default amount of movement is from just outside the bounds of the video frame. When animating from away or behind the viewer (you), it becomes necessary to lengthen the amount of “distance” travelled. This parameter will make the animation both faster and have the effect of making it travel farther by up to 400%. Keyframe the Title Opacity to help fade the effect for distance.

Start X/Y/Z°
End X/Y/Z°
These values can be used to set the starting and ending orientation of the Title with respect the the plane of the Viewer.

Randomness

Position Amount: How much the title moves around the center point

Pos. Freq.: How often the movement changes (randomly – based on “seed”)

Pos. Noise: How *severe* the changes will be

Pos Rand Seed Click the    to create a new random value or double click the number and type in your own.

X/Y/Z° Rot. Amt: How much the Title rotates

Angle Freq: How often the rotation changes

Angle Noise: How severe the changes will be

Angle Freq and Noise control the settings for all three rotations.

Angle Rand Seed: This is a slider with 20 different random seeds. This will help setting up how the title looks at a particular point within the animation. Set the Playhead at a specific point and use this slider to set the randomized angle at that point in time.

Spot Generator

Spots: The number of spots generated

Scale Randomness: The randomness of the size of each spot generated

Spot Color(s): A gradient tool like the Text Coloring, pre-set for Constant color change. Simply keep adding colors to the gradient as needed

Randomize Spots: Randomizes the positioning, scaling, and coloring of the spots.

Text Controls (For your convenience – duplicated in the Title Inspector)

Text: the copy of the text in the title

Collection: if you organize your font into Collections in Font Book, those collections can be selected here (this is NOT a feature available in the Text Inspector!)

Font
Size
Line Spacing
Tracking
Baseline

Drop Zone Controls

Use Drop Zone: This will turn on or off the drop zone. 

Drop Zone: The drop zone, by default, is filled with a transparent PNG. It will not appear even if the Use Drop Zone option is selected until you change to content to another clip or image.

Scale: By default, the drop zone is full screen. This value can be used to scale down the media

Pan: This value can be used to offset the media from the drop zone center.

Scale and Pan can be used to shrink and position images or video in your title scene.

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Touch of Class https://fcpxtemplates.com/touch-of-class/ Wed, 31 May 2017 02:39:59 +0000 https://fcpxtemplates.com/?p=3168 Touch Of Class Title for FCPX 10.3+ by Sight-Creations (F•X Mahoney) By default, ToC is a simple labelling title with enough flexibility to be a full view title or a lower third. A blurred background label type title with a high level of customization. All non-option parameters can be keyframed! Position (for animation) Fade (A […]

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Touch Of Class

Title for FCPX 10.3+
by Sight-Creations (F•X Mahoney)

By default, ToC is a simple labelling title with enough flexibility to be a full view title or a lower third.

A blurred background label type title with a high level of customization.

All non-option parameters can be keyframed!

Position (for animation)

Fade (A convenience to avoid using the Video Animation tool).

Font (default: Helvetica Neue)

Size (default: 48)

Color (text color: default white)

Text Vertical Adj (Different fonts have different ascents/descents. Vertical adjustment will be necessary if you change fonts. You can also use this parameter to adjust the text relative to the background label “tape”).

Text Horiz Adj (As with Text Vertical Adj., it is possible to adjust the horizontal position of the text relative to the label tape with the center text position at 0).

Label Width Adj (You can adjust the width of the label tape to any size from 0 to beyond the size of the screen, suitable for creating a lower third).

Label Height Adj (You can adjust the height of the label tape to any size from 0 to beyond the size of the screen, suitable for creating an entire blurred background).

Label Brightness (Improve contrast with your text by adjusting this parameter).

Label Blur Amount (Blur the background behind the label tape from 0 [no blur] to 100).

Tint Option (Checkbox to turn on Tinting).

Tint Color (Used to colorize the background label tape).

Tint Intensity (Used to adjust the amount to coloring applied by the Tint).

Touch of Class Option (Adjustable outline inside or outside blurred label tape region, adjustable from 0 to larger than the screen region).

Outline Color (The outline is a tasteful (touch of class) 1 px width, not adjustable — the color can be used to complement the title text color).

Outline Opacity (Blending with low opacity gives a beautifully subtle look).

Outline Offset (Adjustable in negative [inside the label tape region] and positive [outside the label tape region] directions).

Need help installing? https://fcpxtemplates.com/install4fcpx/latest.htm

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Duotone https://fcpxtemplates.com/duotone/ Wed, 31 May 2017 02:33:00 +0000 https://fcpxtemplates.com/?p=3161 Duotone A Retro Effect for Final Cut Pro X   User Guide What is old is new again… Duotone is an old technique to add a little color to otherwise grayscale images, for example, sepia-toning images to lend a somewhat flesh color to an black and white image. Duotones can be any single color plus […]

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Duotone

A Retro Effect

for Final Cut Pro X

duotone parameters
Duotone Parameters

 

User Guide

What is old is new again…

Duotone is an old technique to add a little color to otherwise grayscale images, for example, sepia-toning images to lend a somewhat flesh color to an black and white image.

Duotones can be any single color plus black (or white) or any two colors. The most popular color combinations are CMY combinations (cyan-magenta-yellow) or RGB combinations (red-green-blue). The default Preset color combination in Duotone is Yellow/Magenta. The available colors in the Presets are:

Highlight:            Shadow:

duotoneMenuBlack

 

You will see duplicates from one to the other. Remember I said that the *combinations* were from the CMY or RGB — they can be any order you like.

You may want a kind of “negative” effect.

There are a wide variety of combinations available in the preset colors.

Each color has the option to customize the color with the color picker.  Select the option to Customize Highlights or Shadows and choose a new color from the respective pickers. Note that when you select to customize, the color swatch will “revert” to it’s last created custom color. The Highlights custom color starts at white and the Shadows start at black. When you select new colors, you can go back to a preset by unchecking the Customize option. Reselecting the Customize option will put back the last select custom color. It does not matter that you might change the Preset. The color swatch shows the last selected color (Preset or Custom).

Duotones are created by “inking” the grayscale image.  Duotone Intensity determines how much color is applied to the highlights and shadows of the grayscale image. A setting of 0 is a Black & White image.

Duotone controls can make that Black & White Image look outstanding (not simply a desaturated color image, but a genuine black & white image). The Brightness Level is not true brightness, but a conversion of the “value” portion of HSV (Hue-Saturation-Value). It will help boost the lightness of a fully infused duotone that may appear too dark initially (example: using Blue).

The Grayscale Balance section is essentially a Levels control. The Black and White Points determine the range of grayscale. Anything below the Black Point value, when raised will be crushed to black (extending the Black range). Anything above the White Point value will blow out to white. These two controls can radically increase the contrast of the image. The “crushing” values can be mitigated by the use of the Contrast Redux controls.  The Mid Gray Point can elevate or lower a midpoint value and be used to determine the ratio of Highlight Color to Shadow Color.

The Contrast Redux controls will soften the crushing effect of either the Black or White Point.

Duotone Mix will allow you to keyframe a transition from the full color image to the duotone; or it can be used to soften the duotone effect and blend with the original colors of the image.

This is a simple effect. It has an extremely wide range of possibilities! Combined with the Effects Masks provided by FCPX, particularly Shape Masks, even more creative effect can be created with Duotone. Remember that Colors can be keyframed for animation just like any other parameter.

Have fun! Experiment. And use this beautiful classic design tool to take your video to a whole new level!

—F•X

Installation instructions can be found here:

https://fcpxtemplates.com/install4fcpx/latest.htm

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SC Guides https://fcpxtemplates.com/sc-guides/ Wed, 31 May 2017 01:06:24 +0000 https://fcpxtemplates.com/?p=3150 SC Guides 3 A Title for FCPX User Guide   This is a simple tool. It is designed to help you place or align objects at specific locations in your video. It is also designed to work with any resolution up to 9600 x 9600 (and a little more). In FCPX, some of the default […]

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SC Guides 3

A Title for FCPX

User Guide

parameter list
SC Guides Parameters

 

This is a simple tool. It is designed to help you place or align objects at specific locations in your video. It is also designed to work with any resolution up to 9600 x 9600 (and a little more).

In FCPX, some of the default resolution settings are not all “square” pixels. For these resolutions, there will be a slight discrepancy in the Video Dimensions parameters — the adjustments are easy to make to correct the values displayed in the Viewer.

You begin by supplying the video dimensions (1920 x 1080 are the default).

There is an OnScreen Control (the larger one) with the guidelines attached which can be controlled in the viewer or by manipulating the Location parameters (X and Y). You will notice the values are decimal values between -0.5 and 0.5 for the top values and 0 to 1.0 in the disclosed values. You can use either set of these values for precision placement of the gridlines (sometimes manually controlling the OSC, especially in downscaled views, makes it difficult to achieve the position you require). By holding down the Option key and dragging the mouse on the values up or down, you can get fine tune control of the gridlines.

The last two parameters allow you to customize the line color and its opacity.

When you’re done positioning or aligning your objects, simply select the SC Guides title and type the ‘v’ key to disable it, or simply delete it.

If you need help installing this template: https://fcpxtemplates.com/install4fcpx/latest.htm

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SC Overlay https://fcpxtemplates.com/sc-overlay/ Wed, 31 May 2017 00:32:05 +0000 https://fcpxtemplates.com/?p=3144 SC Overlay A reinterpretation of the standard Bumper/Opener Boxes > Overlay Title. Installing SC Overlay SC Overlay was created to be moved into the same Theme as the original. You might not always want to use the extra features supplied in SC Overlay, but it will be available in the same location if you follow […]

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SC Overlay

A reinterpretation of the standard Bumper/Opener Boxes > Overlay Title.

Installing SC Overlay

SC Overlay was created to be moved into the same Theme as the original. You might not always want to use the extra features supplied in SC Overlay, but it will be available in the same location if you follow these instructions.

Starting at the “root” level of your main drive, usually called Macintosh HD:

Open Users

Open your Home folder (the currently active user account will have a small house icon)

Open the Movies folder

If you have a folder named Motion Templates, open it. Otherwise create it:

     Create a new folder.

     Rename it: Motion Templates (case sensitive, space necessary)

     Type Command-I to open the Get Info window.

     In the Name & Extension section add: .localized to the end of the name if it doesn’t already exist

     Open the folder.

Find and Open the folder “Bumper/Opener” if it exists. Otherwise create it:

     Use the same steps as above – case sensitive and the slash is required

     Open the folder.

It is not likely that a folder named Boxes exists yet, so create it following the same instructions above

    Open the folder.

Move the entire SC Overlay folder inside.

Check to make sure that SC Overlay is available in FCPX by going to the Titles inspector >  Bumper/Opener category and scroll down to the Boxes section. You should find the original Overlay title as well as the SC Overlay variation. If not – check your spellings on the folders you created and the ‘.localized’ extension is properly applied.

Using SC Overlay

SC Overlay is almost exactly the same as the original. There is a menu parameter named Direction. The original did not allow this option. All animation was from the Left In except for the Arrow Shape option which was Left Top Down. Left In is now available for all shape options as well as the following:

  • Left Top Down
  • Center Top Down
  • Right Top Down
  • Right In
  • Right Bottom Up
  • Center Bottom Up, and
  • Left Bottom Up

SC Overlay allows you to set the Amount of Blur (“Blur Motion Amt.”) applied to the motion animation from 0 to 32+ (for higher than 32 values, click and drag up on the number value to increase).

Color Theme and Shape options remain exactly the same.

Align Title has been repaired so that the value of 0 indicates the default (centered) position of the ‘title subtitle’ text section.

In SC Overlay, the description/name pairs has been modified in the following way:

     These text items are formatted as “Paragraph” style text objects meaning

     that they are complete TextEdit objects contain a bounding box and ruler for placing Tabs.

     SC Overlay adjusts the right side of the bounding box to equal the offset of the left

     edge. What this means is: you can use the Text Alignment parameters in the Title inspector

     to align the text objects as Left (default), Center and Right aligned text and have the

     text align properly within the background bounds.

     Example:

Editing in SC Overlay
editing text in SC Overlay

 

If you need more room for text entries, modify the text bounding boxes by dragging the control squares along the edges of the bounding box to adjust the space needed.

For assistance lining up altered text spacing, I recommend:

https://fcpxtemplates.com/product/sc-guides-3/ (SC Guides 3)

a FREE simple generator for lining up objects within the frame viewer in Final Cut Pro.

Thank you for your interest in Sight-Creations Templates (available on FCPXTemplates.com)

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