relinking (low res to high res stills )maintain motion keyframes?

I edited with low res image stills and extensively keyframed pans and camera moves accross. We used the low res until the final decisions were made and then we purchased the high res today. The problem is - now the motion paths are totally whacked. When I imported the high res jpegs and relinked the media, my keyframes are totally off. Is there a work around or do I have to re-edit my entrie project?

YOu don't have to re-edit, but you do have to re-keyframe. Because you keyframed with certain dimensions and scale sizes, and the new stills have new dimensions. Yeah, I do the same thing, and I have to redo all my moves.


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all the keyframes are still there

so you;re not entirely re-working,
just modifying.

i think i;d do something like this:

export your lo-res timeline as a self contained quicktime movie

if yo;re now working in a larger-res timeline, then when you do that, dont use current settings,
rather chose your hi-res sequence setting.

so you've got a (possibly blown-up) guide of your low-res timeline.
you can put it on a new track above everything else,
and lower it;s opacity, use it as a reference for the stills.

it's pretty simple to jump from keyframe to keyframe and quickly re-size the images in the canvas

remember you can open up the clip keyframes window in the timeline.
(option T, or the little blue & green buton ower left of timleine) this will show wher ethe keyframes are.
you can navgate to keyframes with SHift K (next kf) and option k (prev kf)

making images larger is easiest to do in the canvas with image & wireframe mode.
if you have to deal with images where they are much bigger than the canvas, then opening into the viewer and adjusting the scale slider can be easier.

look into the "Open" mode in hte canvas layhead sync menu. (middle one at the top, looks like goal-posts)
this will open any clip you park on into the viewer.


or use the obscure "Fit All" comand in the canvas view menu (Map it to a shortcut for real efficiency)
this will re-size the canvas to show any and all wireframes.


have fun,
nick

oh, forgot to say the original keyframes aren't on the new still right off the bat, of course.

you either have to re-conect to the new stills,
or copy paste the kf from the old still onto the new.


nick

I smell a tasty new feature request-- not only Scale Attribute Times but also

Scale Attribute SIZE. That would call for some decent smarts-- FCP would have to measure the existing still, measure the upres, calculate the scale-up and adjust keyframe values accordingly.

Something for the team to do in those off hours!

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Really annoying workaround- may not actually save any time.

If you nest each still before animation, and then animate the nest, you can Reconnect media to the hi-res file, then only have to adjust the scale attribute once to the correct size.

interesting.

you could create a nest for each still.
the nest would have to be the same frame size as the hi-res frame.
one layer would be the hi-res pic,
above that the lo-res pic scaled up to match

hi-res pic is made invisible.
when done, go in and swap the visibility.

but would a hi-res nest containing a low-res image be almost as processor intensive as the hi-res image?




nick

> If you nest each still before animation, and then animate the nest, you can Reconnect media
> to the hi-res file, then only have to adjust the scale attribute once to the correct size.

I rarely use stills in offline cuts so bear with me as I play devil's advocate:

It seems to me as if this doesn't actually fix the issue because it's not that your still image file is changing. It's that the container (sequence codec/frame size) it's meant to fill is changing. James' method seems to be redundant: If you already have the high-res file, why not use the high-res file in the actual edit? The problem comes of the fact that when the sequence codec changes, a 100-pixel motion path will no longer travel the whole frame, because the distance has increased. So the motion parameters on the nest would still fall short.

Now, I'm going by theory here, so if anybody successfully tests this method and comes back with results, I'd be glad to be proven wrong.

Here's another idea: Do the motion stuff with full-quality raw materials, in a timeline that matches the final online. Nest that into the offline edit or export as a movie file with alpha channels. Shrink the nest/movie file for the offline, restore to normal size for the online.


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