From the course: Final Cut Pro X Weekly
360° Patch - Final Cut Pro Tutorial
From the course: Final Cut Pro X Weekly
360° Patch
- [Nick] Hi, welcome to Final Cut Pro X Weekly. I'm Nick, and Jeff's not here this week. We're going to take a look at discovering the 360 degree patch effect inside of Final Cut and how we can use this on our 360 videos to remove camera rigs and unwanted objects on static shots. So, we're going to look at applying the 360 patch. We're going to look at understanding the setup mode and how best to use it. As well as how we can change a target and a source inside the patch effect that will be on our 360 video clip. Let's hop inside of Final Cut Pro. I have a 360 timeline ready and a 360 clip inside that timeline. Now, you might know, if you've worked with 360 video before, to use 360 video and have this navigate across your scene to see everything that's in your image. While it's great to find out where various things lie across this spherical footage, this isn't going to work so well inside the patch effect because of how the setup mode works. So, I encourage you to just to close the 360 viewer if it is open, and you're using it for the first time to get the most out of the patch effect. We can go into our effects browser. And if we go to our 360 category at the very top you're going to see this 360 patch effect. I'm just going to take that and drag it over to the clip. I'm going to use a handy shortcut here, control + cmd + 4, to get a bigger view of the inspector. I'm also for the time being going to close down my effects browser. It just allows me to see all the commands for the 360 patch. The first thing that you want to do when using this effect is enter into setup mode. And what it's doing is choosing a patch region. It's assuming that the camera that's in your spherical scene happens to be at the bottom of your shot, or what's commonly referred to as the nadir. You can, of course, change that to a different view. The front, back, left or right camera can also be chosen depending on if it's in a different place. But, for now the bottom is appropriate. With the clip selected, notice that you also get some onscreen controls in the viewer. And what we can do is choose essentially what we're targeting, as well as the area where we're choosing a, essentially clone, or patch from. If your clip is not selected in the timeline and you're effect is not selected these patch controls will go away. So, do make sure that your 360 patch effect is selected in order to this in the viewer. I'm going to move my source position in my setup mode to choose an area to clone from. So, I want to choose this rock detail right here and while this region is too big for the source, I can, of course, choose to make it a lot smaller. Now, this doesn't do the actual target region justice, but one command under the target happens to be scale. And if you increase the scale, we can essentially take a very tiny patch and make it much larger. Of course, this is going to depend on what type of part of the image you are choosing to patch from. So, I might make this slightly bigger, the actual source control and choose an area just a little bit over here to the right. And I'm just going to then move also my target control and slightly make the target scale a little bit smaller. I've been able to obscure most of my camera, and I'm just going to try to get the majority of it, minus this little section over here. But that's looking pretty good. Now, depending on the region that you are adding the target to, keep in mind you can do a few things. Such as, if you go down to target scale, you can actually separate your X and Y scale. And for certain things you can, of course, make things larger or smaller in case that the target that you want to apply to doesn't happen to be the exact size that I'm showing you here in this example. Other really cool things are your ability to actually flip your source. So, you can take the area that you're choosing to patch with and you can flip the way that it looks when you're applying it. So we can, of course, flip that patch horizontally, vertically or actually flipping it both ways. And this could create or be very helpful in certain situations where we're trying to remove the camera as well as make the area where the camera was as unnoticeable as possible. Once your done with this we can leave setup mode. And we can see here that we've done a pretty good job there with the patch. Just to double check after you've exited setup mode, you can bring up your 360 viewer again. Just to get some more real estate, I'll close my browser. And I can see that region without any of the setup controls, and how that looks in the scene. If you are, you have the ability to add multiple 360 patch effects. But for simplicity purposes, I do recommend that you take your video clip and wanted to add another patch and basically turn it into a compound clip, by going to the file menu. I'll call this Patch One, and now that this is done, it just makes it a lot easier for me to go into my effects browser and apply a 360 patch without accidentally selecting the previous patch effect that was above. And I can now enter into setup mode and then choose a full other region to patch if this was necessary. And get rid of any other unwanted camera materials. In this case, I don't need to add another patch effect so I'm just going to undo my, the last few steps until I get rid of the compound clip. Now we can see this clip and how that patch job came out. So, hopefully this gave you some insight on how you can use the patch effect on 360 videos to move your camera rigs. Thanks for tuning in to Final Cut Pro Weekly, I'm Nick.
Contents
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Why the Range tool should be your favorite and why to use it more5m 26s
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It’s all about the color board9m 53s
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5 things you should know about Motion 510m 34s
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The ultimate short guide to mastering speed effects6m 52s
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3 things you should use Compressor for right now6m 38s
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5 keyboard shortcuts you should know in FCPX7m 9s
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Uploading videos to the web4m 27s
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Setting up workspaces5m 8s
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AE workflows10m
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Cool things about the Info panel5m 36s
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5 tricks for dealing with the inventible stills montage8m 35s
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Animation in a hurry: Have no fear, custom text is here7m 9s
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The least you need to know about After Effects10m 21s
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Video roles in FCP X7m 44s
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Three Timeline tricks7m 31s
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Split edits to elevate your storytelling5m 53s
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Color Finale for traditional color correction10m 37s
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Tricks for managing titles12m 21s
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Perfect slow-mo with HFR11m 35s
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The power of generators10m 49s
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Portable proxies12m 30s
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LUTs and you12m 47s
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Free Apple sound libraries6m 40s
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Getting more from the Ken Burns moves7m 46s
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Storyboards5m 18s
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Three things about 3D text9m 8s
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Playhead and skimmer management6m 22s
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360VR in Final Cut Pro, part 15m 46s
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360VR in Final Cut Pro, part 29m 23s
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Keyframing best secret: Solo animation4m 50s
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3D text in Motion7m 45s
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Smart collections8m 51s
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Transitions6m
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Frame.io9m 55s
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RED workflow10m 2s
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Timelapses, part 17m 32s
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Timelapses, part 27m 23s
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Setting up a stronger Color Workspace7m 34s
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Shortcuts for faster color correction in FCPX 10.47m 12s
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The Power of Overshoot6m 53s
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Better LUT Workflows3m 32s
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Eyedroppers in Curves4m 57s
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Clip Filtering in the Browser3m 2s
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Animation Headache Avoided2m 40s
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SpeedScriber7m 6s
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A Solution for Charts4m 48s
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Speeding Up Basic Transforms4m 33s
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Common Transform Libraries3m 58s
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Viewing Smarter in the Browser3m 46s
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TImeline Display Options2m 16s
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10 keys we wished more FCP X editors used: Part 16m 22s
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10 keys we wished more FCP X editors used: Part 27m
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3 things to know for working with 360 in FCP X6m 46s
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360° Patch6m 20s
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Finishing the job: Archiving best practices4m 11s
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Using auditions with color correction2m 36s
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Using a color chart4m 29s
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Using Motion color looks in FCP X6m 26s
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Using the Finder for easy organization6m 33s
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Flow transition: Hiding jump cuts3m 53s
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Using Palette Gear with FCP X7m 51s
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The ultimate reframe: 360 in everyday projects5m 44s
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Snapshots: Better than duplicates4m 43s
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Closed captions7m
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Which ProRes is right for you?10m 24s
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FCP X in the real world: A sit-down with Kelsey Wilson from the Toronto Star14m 50s
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Dual displays: Maximize your layouts6m 19s
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Creating custom clip names in FCP X5m 21s
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Creating a channel blur in Motion for FCP X8m 7s
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Tweaking flesh tones9m 32s
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Text design tips for video editors12m 57s
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Saving useful effect presets in FCP X8m 28s
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Audio compression9m 27s
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Creating great lens flares with mFlare 211m 48s
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Voice EQ: Making everyone sound better10m 40s
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Smarter effects workflows7m 57s
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The edits not taken5m 38s
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MacBook Pro: 2014 vs. 20187m 11s
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Using cameras and formats6m 48s
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OS X Finder search secret5m 41s
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USB-C, T3, and you3m 51s
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Nodes 2: Incredible motion graphics right inside of FCPX8m 57s
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Three things to know about taking the dive into FCPX8m 6s
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CommandPost6m 37s
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Three great OS X utilities4m 56s
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Build a custom Final Cut Pro custom template in five steps14m 58s
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Three hidden compressor tweaks8m 5s
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Make safe OS X media copies6m 38s
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Don't hit the panic button: Troubleshooting Final Cut Pro X problems, part 14m
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Working with 4K in HD production7m 37s
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Workflow extensions with Shutterstock4m 45s
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Don't detach the audio2m 24s
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Four tips for keying the green out of your screen8m 44s
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Upgrading safer4m 43s
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Understanding disk speed10m 33s
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Beyond Ken Burns: Working with photo cutouts in Apple Motion, part 111m 3s
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Automatic color4m 48s
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Color matching8m 9s
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External GPUs14m 58s
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Beyond Ken Burns: Working with photo cutouts in Apple Motion, part 210m 32s
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Pair kerning: The secret to professional-looking titles3m 19s
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Pro Res raw8m 40s
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Incompatible media for future OS updates5m 38s
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The future isn't just horizontal8m 29s
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Audio limiter5m 12s
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Easing animations8m 12s
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Three free effects9m 49s
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Making keyword collections work for you6m 57s
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Square video8m 52s
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Video noise reduction11m 39s
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Hard limiter2m 44s
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Exploring 3D type options and reflections9m 16s
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Preparing titles for vertical and square formats8m 11s
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Odd-sized assets and Spatial Conform3m 29s
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Stencil and Silhouette5m 5s
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Working with 180-degree video in Final Cut Pro X8m 48s
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Two workflow tips for 5.7K footage7m 6s
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Faking room tone6m 2s
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Free still and video content sites8m 28s
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FCPX system performance12m 37s
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Proxy files for collaborative workflows6m 33s
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EditReady4m 35s
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