If you don’t want your client to see the render frame by frame appear on the monitor, instead of press render batch, create a BFX of the final render, render it and then open and play!
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I’m sure most of you know this but it’s saved me a bunch. If you have a corrupt/damaged frame(or even a frame a client just doesn’t like) don’t hesitate to use motion estimation time warp to create a new one.
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These are all so great! Thanks for contributing, and be sure to tune into Logik Live on Sunday to see who’s the lucky winner!
Smart! Does this offset the paint strokes too ?
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Totally. Paint strokes included.
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When matching grain over a whole shot I zoom way in and it is useful to match the darks, lights and medium parts of the shot. Then look at the RGB channels separately and adjust size and density of grain.
CAN WE GET AI to do this already?
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Especially paint strokes ;^)
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Congrats @carloscampos!!! You’ve won a Logik Phone Charger! Thanks to everyone who participated in the 2 Sentence Tips! Flame On!!!
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FYI this thread shall remain active and shall continue to grant eligibility for future drawings!
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@Sinan It is Alt-Click to select the branch upstream and Alt-Space-Click to select the branch downstream. There is no D needed.
Oh yes. Why did I think like that. It’s obvious when I use it. Head scratch 
When keying greenscreen shadows on the ground use 3DKeyer with softness set to YUV.
interesting having this as a dynamically updating bfx, cool tip. I’ve always gone to the end of the spot, tools, clip, repeat 10sec. then just add that to the end.
I’d like to see a feature added where there is a usr bin inside the tools tab where you could keep bfx like yours, ready to drop on the timeline. Almost the same as a usr bin inside batch but for the timeline!
I have a project set up with timeline templates including the clock, my tagging template and a bfx with a freeze mux
. In bookmarks i have a global link directly to the templates so i can pull in a copy to my current job, change the timeline name to match the clock number, then copy/paste the edit.
Not quite a bfx, but iit works pretty well.
If you’re working in the Image node with selectives and attach multiple gmasks to those selectives frequently, you might notice that upon adding a new gmask to a selective that already has effects like a blur from A2 beauty or a color adjustment from Mastergrade, it applies that selective’s effects to the whole screen until you finish drawing the mask. To avoid this, when you create the gmask on the selective, immediately press F8 to draw your mask in Object View, which allows you to see just the gmask and your source without the selectives’ effects getting in the way.
Francis Bouillon at Autodesk should receive all the credit for that one-- he taught it to me about 8 months ago and it changed my life! There’s also a good chance it’s in a Grant Kay tutorial on selectives, but maybe it will still help someone!
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If you’re looking to extrapolate a fill layer with pixel spread: first ever so slightly shrink your matte that’s feeding the pixel spread, and do a stretch set to expand (just a little bit)- then feed that result to another pixel spread with the same matte and extrapolate to your hearts desire.
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If you need to make adjustments to the tangent handles of a scale animation in the channel editor, link the x and y scale to the z scale with an expression (simply use copy>link). You can adjust it once and the other channels will match exactly.
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