I would like to make it look like an object is rising from behind another object. The way I was thinking of doing it would be using a mask and key-framing the "Transform". The only problem is that the mask seems to move with the "Transform", stopping it from working. Is there another way to do this, or is there a way to lock the mask.
Keep Mask in Same Spot While Key-Framing Transform – Final Cut Pro
final-cut-pro
Related Solutions
Yes. Final Cut Pro X is the new high-end professional video editor. When it was released, the pro video editors revolted, as they rewrote Final Cut Pro, changed the interface, and took out a lot of features they relied on. So, if you're a pro and you want to spend a lot of money on the old version, you call Apple and make an arrangement.
Yes, this is possible. NOTE: Compressor cannot process directly to YouTube, it must first render to the HD, then upload to YouTube. The uploading is automatic if you set it up correctly.
Create your movie in Final Cut X and send to Compressor as usual. This creates a default batch named New Project. In the Settings window, drag the settings for the video you need (there are 7 to choose from) from the HTTP Live Streaming folder into the batch, then drag to a Destination you've created your HD. Once the destination has been chosen, select the New Project batch and choose the Job Action tab in the Inspector window. One of the "When job completes:" actions in Inspector is Publish to YouTube. You enter authentication credentials and define Title, Description, Tags, Category, etc, right from the inspector.
Best Answer
I recently did this (as an experiment) by keyframing the motion of the mask in the opposite direction to the keyframed motion of the transform. In my example someone sitting in a chair (in front of a greenscreen) appeared as if they rose up out of a barrel in some background footage: I keyframed a mask where the bottom edge of the mask started at their head and worked down to their waist; at the same time the keyframes for the transform motion moved the greenscreen footage of their body upwards. The end result was a bit messy, but the bottom edge of the mask stayed roughly level with the lip of the barrel as the superimposed footage moved upwards. To key frame the changes into my four-cornered mask I started with a narrow mask where all four corners were just above the head and set a first keyframe. I then moved to the end frame and modified the mask so that the bottom two corners were now at waist level, and set the second keyframe. So the mask height grew over the course of the transform.