Like many of the effects by Idustrial Revolution, these give more than a wide variety of functionality and parameter choices in either the FCPX inspector or the simple onscreen controls. Either way, its easy to modify the default looks to suite your own taste.
I found a number of the tools quite useful and time saving. Among my favorites are the two Add Gloss effects that give text and graphics a neat 3-D “mac-look” with simple onscreen control. Others include Alpha Adjust and Make Alpha which instantly changes a white background to a transparent; 3D Spotlight, 3D Perspective Pro, Underliner, a very handy Tilt Shift, Adjustment Layer which works like After Effects in that you can add multiple FX and color correction options over your video, White and Black Crusher, Widescreen Matte, and Skyshader that makes your skies pop while leaving the rest of your scene intact. Guides Crosshair and Guides Centered are very useful rather than having to “eyeball” on screen text and graphics.
Of the 50-some options, there are indeed a handful I just couldn’t use in any of my projects. That’s not to say others won’t, such as 3D preditors and compositors, but I have no need for RGB Channel Adjust, RGB Time Adjust, Channel Swap, as well as the 1980’s Thermal Imager, Glow Edges, Glow Stars, and Lens Doubler effects. The Zoom Split Analysis option creates a side-by-side comparison of your original footage with a digital zoomed version of the same. However, the zoom effect quickly becomes soft, blurred and pixilated with increased zoom much like a point and shoot camera does once past it’s optical zoom and into the digital zoom function. Visually, I only see this option working best with 3K+ footage to keep both the original and the digitally-zoomed image crisp and clear.
Other traditional visual FX are convenient yet nothing to dwell on, including multiple color Fades, 8 Point Garbage Matte, Picture-in-Picture, Vertical and Horizontal Splits, Auto Zoom, Auto Rotate, and Subtitles. I do like the Security Camera look with tint and grain settings that can be altered and applied to any footage to create instant atmosphere. Think the ability to create a ‘Matrix’ green or ‘Dark Knight’ blue scene within a few clicks.
A generic Countdown Clock and Slate will save you a few minutes of time and available in 25fps and 29.97fps formats. A Telestrator is among the handful of highlighting and analysis tools within XEffects Toolkit that follows a path you set onscreen, handy for mapping projects.
by Denver Riddle from Color Grading Central via fcp.co
Denver Riddle from Color Grading Central has got some great products and he’s also produced the excellent free 15 part course on grading that we posted.
Denver has just released LUT Utility, a clever $29 plugin and application that automatically converts flat picture styles to the correct grade in FCPX such as REC709. This is no effect wrapped template, it’s a fully coded plugin that also works in Motion and even loads up its own system settings.
So should you be shooting in LOG on an Alexa, Blackmagic Cinema Camera, Canon, RED or Sony, then this plugin will instantly show your footage with true exposure and colors.
It looks like a great plugin, especially as the plugin could be applied to an adjustment layer over the whole footage in a project for a very quick ‘one light’ grade.
What got us excited was the ability to import a LUT from Blackmagic’s DaVinci Resolve or Adobe’s Speedgrade. Yes that means that you can build a grade in those apps and then apply it directly in Final Cut Pro X without having to roundtrip. Amazing! We are not too sure what looks will actually get transferred over, things like vignettes probably won’t, we will ask Denver.
(We also had a flashback to the Apple Color days when we always said that making a grading droplet ‘look’ from Color would be super useful. Looks like Denver has done just that!)
Color Grading Central are also offering an extra range of grades called Osiris which you can buy with LUT Utility for the combined price of $89.
Idustrial Revolution has just released two new free plugins for FCPX.
The first is called Flare Lights, it’s a filter plugin that produces adjustable light streaks from the highlights on video. An on screen control gives access to the flare length and direction. More parameters in the inspector include the threshold for clipping, smoothness and the colour of the streaks. Go easy on the Star Trek look!
Also from Idustrial Revolution is Glow Darks. This effect plugin isolates low luminance within video and then applies a fully adjustable dark glow to the area. Exactly like the built in glow, but for darks. Uses for the plugin include adding ‘some punch’ to thin video without having to crush the blacks or alter the exposure curve. It can also help reduce noise in the blacks or be tweaked up to give a very stylized ‘dark’ look.
Next is a free pack of matte wipe transitions from Tangent FX. Called Matte Pack 01, there’s 16 unique matte wipe styles with variable delay and echo. Simple, elegant and of course free!
Lastly we have a new free effect from Fox Mahoney. Called Spirotechnics, the generator plugin is a collection of pattens that draw on the screen. As Fox states, the timing with Mark Spencer’s Siprograph tutorial is completely coincidental and the method used for the drawing is completely different. (Oscillator anybody?)
Red Giant BulletProof
The other half of your camera
You’ve got a great camera, you’ve got a great editor — how do you manage everything between them? BulletProof is a complete offload, prep and delivery solution that bridges the gap, with a workflow that simplifies how you handle footage every day. Import, backup, organize, color, deliver: BulletProof has your back at every step. Whether you shoot DSLR or a GoPro, BulletProof lets you focus on your story and get to the editor fast.
Backup Offload Your Files. Select clips from disks/cards, then import into a catalog with backup.
Organize Organize Your Files. View the whole catalog, and sort clips with folders and playlists.
Review Review Your Files. Play individual clips to check their color, quality and consistency.
Color Edit Color & Metadata. Apply first-pass color adjustments and add helpful metadata.
Deliver Deliver Your Files. Queue and export the clips as transcoded project-ready media.
Get the free beta
The FREE BulletProof beta is coming soon. Click here to register for it.
BulletProof is a new app from Red Giant that fills a huge gap in the DSLR shooter’s workflow. You’ve shot this great footage—now what do you do with it?
Large productions with high-end digital cinema cameras tend to be supported by a full DIT (Digital Imaging Technician) cart with customized software and hardware. But where was the DIT tool for indies? Red Giant saw an opportunity to bolster the workflow of one of the most common types of shoot—the DSLR-based, small-but-capable indie crew. So about 18 months ago, we sat in Sean Safreed’s dining room in San Francisco and started sketching ideas for BulletProof.
The Other Half of Your Camera
If you’re a cinematographer hired to create gorgeous images, you have a tough choice to make about how “flat” to shoot your footage. Flatter is better (log is best) for color grading, but your client might not understand why all their footage looks like it got a milk bath. And even if they do, who’s to say that they’ll color correct it anything like what you had in mind? Or maybe, to your horror, they’ll just fall in love with the “flat look,” since that’s what they’ve been looking at in the edit.
Or you could bake in a look into your shots in-camera. The client may love the dailies, but they also may be disappointed with the lack of flexibility you’ve given them down the line.
Now that we have an abundance of cameras that shoot a broad dynamic range, flat or log image, shooters need a way to not only review color-correct dailies on set, but also to begin the creative process of color correction—if only to “set a look” that conveys the cinematographer’s intent.
When I shoot stills or video, I’m already thinking about what kind of color grading I’m going to add later. Lensing the imagery only feels like the first half of the image-making process. That’s why we’re saying BulletProof is the other half of your camera—it’s a safe place to offload, catalog, and prep your footage for the edit. You can add keywords, markers, and other metadata—including Colorista primary color correction and a variety of industry-standard LUTs.
If you’re an indie filmmaker working on a small scale, you still have all the needs of a large production when it comes to managing your precious footage. You need a checksumed, redundant archiving process. You need to check your shots on set. And you might not have a dedicated script supervisor to take notes, so you need a way to mark your good takes, your crummy ones, and even key moments within a take—whether it’s you cutting the footage, or someone else.
BulletProof allows you to add markers and even in/out points to clips. This metadata is included in the clips your export, so your editor sees your Circle Takes, Rejects, and Notes right in their NLE, effortlessly.
Maybe the coolest feature is BulletProof’s Playlists. You can add shots to a playlist and they’ll play back in sequence, respecting the In and Out Points you’ve added to each clip. This makes it fast and easy to create a mini-cut on set, so you can check continuity and move on to the next setup with the confidence that you’ve got your coverage.
Like Red Giant’s Grinder before it, you can easily export all kinds of variations on your footage. You might create H.264 web-friendly movies with color correction and timecode window burn for web review, color-corrected ProRes files for offline edit, and uncorrected ProRes HQ movies for the online. All of this is driven by presets that you customize.
These are all wonderful features, but my favorite feature is that BulletProof is simple to use. I wanted to design something that would be intuitive and easy for a busy and distracted director to use on their own, yet powerful enough for a dedicated DIT to be a hero for their director or DP. The left-to-right “panoramic UI” makes it abundantly clear where your footage is coming from, where it’s going to, and what’s happening in between.
I’m really excited about BulletProof. I know it’s going to change how I shoot, and make my communication with my editors even better. But I know that we can’t do it alone. However much I might shoot, there are those of you out there who shoot more, and under more pressing conditions. So we’re launching BulletProof in a new way for Red Giant—as a free public beta. You can sign up now and help us shape BulletProof into the shooter’s companion app that you’ve always wanted. This summer, the app will ship for $199—a price designed to make BulletProof an easy choice for shooters at every level.
Photo by @donaldberube. Note the tea.
One Froggy Evening
Last night I got to show BulletProof to over 1,000 people at the 13th annual SuperMeet. The crowd was very supportive even though I had almost completely lost my voice! I felt privileged to be representing the hard work of the amazing team at Red Giant who have been bringing BulletProof to life. If you’re at the show and you’ve come by the booth you’ll immediately understand why I love working with this company.
If you’d live to see more great NAB news, including Sean and I talking about BulletProof, check out fxguide’s amazing show coverage. You’ll find Mike Seymour interviewing us at about the 01:26:45 mark in Part 1.
Evernote isn’t a revolution. Like most of the technology products we tend to use regularly in our daily lives, Evernote is an evolution, a collection of good ideas that rolls into a single program the functionality of a half-dozen apps you would otherwise use separately.
Evernote was designed for individuals, but businesses have been adopting it in increasing numbers, finding unique ways to put it to use. Evernote itself has taken notice of this, and later this year it will be launching Evernote for Business, which could elevate Evernote’s business utility even further.
Meanwhile, if you’re new to Evernote, or are just dipping your toes into it, here’s how to put the little app that could to its best use.
Get started with Evernote
Evernote is a hybrid system of offline and cloud-based features. You’ll need to create an account when you first download Evernote; you can then install the software just about anywhere. In fact, the more places you install it, the more useful it becomes. Evernote is available for the Mac and Windows and all mobile platforms, so no matter how multi-platform you are when you work, there’s nothing keeping you from running Evernote on every device.
Evernote’s core functionality is in storing your notes and keeping them organized and synchronized, in real time, among all your devices. It pays to understand a bit about Evernote’s terminology, which isn’t always intuitive, before you start filling the app up with content.
In Evernote terms, every page you create is its own Note. Notes are most useful when organized into various Notebooks, essentially a folder full of notes. Setting up notebooks tends to be easier on a computer than in a mobile app, so it’s a good idea to configure your notebooks ahead of time on a PC, even if you leave them empty to start. A group of notebooks is a Stack. Just drag one notebook to another to automatically create a stack. (Right-click to rename it.)
For example, if you used Evernote to keep an archive of payroll, each paycheck would be a note, each employee would be a notebook, and various classes of employees (full-time, part-time, contractor) might be a stack.
When you create a note, you can give it multiple Tags, by clicking the “Click to add tag” button in Windows or the Info button (an i in a circle) in the mobile app. Tags are especially useful when you’re embedding nontext content, since everything in Evernote is searchable. They’re most useful when you have common but more general terms that you might want to search across all of your notebooks: “2012 taxes,” “personal,” or “urgent,” for example. Adding content from within the mobile app may be less intuitive than it should be to new users. To create a note on the go, navigate to the notebook you want to work in, then click the oversized plus-sign (+) button at the bottom of the screen.
Speaking of adding content, one of Evernote’s major features is that you can add all types of content to the archive, not just text. The program supports PDFs, images, audio recordings, sketches (with the Skitch plug-in), webpages (with the Web Clipper browser plug-in), and more. Evernote has a rich plug-in ecosystem, which you can explore on the Evernote homepage if you want to delve even further into special types of content.
Finally, we come to Evernote’s marquee feature: Sharing. Everything you create in Evernote is automatically shared with your various installations of the software unless you specify otherwise when creating a notebook. (Note that you can’t change this behavior later.) By default Evernote synchronizes all installations of the software every 30 minutes; or, you can press F9 to initiate a manual sync.
You can also share content with other Evernote users. The easiest way to do this is to right-click a notebook and select Share Notebook. You’ll be prompted to enter email addresses or to create a public link to the notebook that is accessible via the Web. After accepting the invitation, the recipient will find the shared notebook under the Shared tab on the left-hand navigation pane in Evernote. Note: To share notebooks with full read/write access, the owner of the notebook must be a Premium user ($5 a month), which comes with additional features like extra content and the ability to make text within PDFs searchable. Otherwise, notebooks are shared as read-only.
Now that you’ve got a handle on the basics, it’s time to put your new Evernote skills to better use. Here are some ways that small business owners are elevating Evernote beyond the obvious.
Upgrade your note-taking
At its core Evernote is a juiced-up note-taking system, but you can get more out of it if you make use of the software’s multimedia capabilities. Joey Price, CEO of Jumpstart:HR, says, “I record the audio of client meetings while jotting down notes in real time. We manage a lot of different clients, and sometimes taking notes in shorthand isn’t enough. Being able to replay the audio back once I’ve left helps me re-immerse in my thought process and generate new ideas to help our clients.”
Archive essential emails
Storing email permanently in a webmail folder or within Outlook is usually fine, but it means you have to have access to your inbox in order to read it. Evernote gives you a couple of options for upgrading the way email is archived. First, Outlook users can use the “Add to Evernote 4” button that appears in the toolbar to send the full text of an email to Evernote as a note at the touch of a button.
Not an Outlook user? Use the “email to Evernote” capability to send any message directly to Evernote. When you create your account, Evernote assigns you a custom email address to use. Just forward notes or received messages to this address, and they’ll automatically be converted into notes behind the scenes.
Keep tabs on inventory
Evernote may not be robust enough to replace your inventory-management software, but it’s an excellent tool for keeping tabs on the various items you sell, along with basic pricing information. If your business involves a smaller number of SKUs, you can even use Evernote as a way to showcase your wares from any device. Just add a photo, details, and prices, and Evernote turns into a handy mobile portfolio that you can update anytime.
Collaborate on projects
Building an agenda for a meeting either with staff or with clients is usually a tedious, email-based affair. But share a notebook from within Evernote, and the process becomes much more collaborative. Agendas can be built and refined on the fly right up until the meeting begins. Brainstorming sessions can take place asynchronously, and each participant can add notes whenever the mood strikes them instead of being limited to a single brainstorming session. Got a big event to plan? Evernote can keep a dozen subcontractors on the same page.
Integrate with Getting Things Done
Evernote is a natural tool for the productivity obsessed, and while you can probably figure out how to add it into a Getting Things Done workflow, one Web programmer has done the heavy lifting for you, thanks to this 15-minute configuration guide. It’s definitely worth a look if you’re a GTD freak.
Track expenses, pay employees, and prep for taxes
No, Evernote can’t cut a check, but it can keep tabs on who got paid what. Justin Lugbill of Lugbill Designs uses Evernote to replace the shoebox full of receipts. You can scan or take a snapshot of each receipt, and then save it to Evernote. Says Lugbill, “Every receipt that I get, whether it’s paper or an email confirmation, I forward to my Evernote account.” Different expense categories each get their own notebook, and employees have their pay stubs archived and organized in separate notebooks, so Lugbill can easily look up any given check. The end result looks more like a bookkeeper’s chart of accounts than a to-do list.
Archive analog notes for posterity
The conference rooms of the world are covered with whiteboard notes that are promptly erased by the evening cleaning crew, just as many a hotel bar is littered with note-covered cocktail napkins that are swept away into the trash. No one wants to have to be the guy who copies this information down into digital form, and with Evernote you don’t have to. Jesse Waites of PNTHR.com says he snaps photos of anything drawn or hand-written outside the office and drops the picture into Evernote. As noted earlier, Evernote can convert handwriting in PDFs into plain text for you. It even scans images for text and saves that text separately.
Stash software keys
What do you do with all those software keys you get for registering purchased and downloaded software? If you’re ultra-organized, you might save them in a file that you store on your computer… which you have to hope you remember to back up or print out before you wipe your hard drive (at which point you may actually want to use them again). Simple solution: Forward all registration-code emails to Evernote and drop them all into a notebook, and you’ll never lose them again.
Remember a name
Business cards have a nasty tendency to end up in stacks (or the trash), which makes them virtually useless to both the giver and the receiver. Evernote makes for a great repository for contact information. Just snap a picture of the card, and let Evernote’s OCR go to work. Add notes and tags to remind you why exactly this person was important. Alternatively, you can use Evernote Hello, which, while it isn’t specifically designed with business cards in mind, does let you use Evernote as a sort of souped-up contact manager.
Spy on competitors
David Handmaker of Next Day Flyers says Evernote makes competitive analysis on the Web easy. “I’m also a huge fan of Skitch [the Evernote add-on that lets you edit and annotate screenshots and images]. I, along with many of my team members, use it frequently to take screenshots of our website or our competitor’s sites, and we mark it up to highlight important information. The functionality and ease of use is fantastic. Plus it saves our company money, as now we don’t have to buy as many Photoshop licenses for the team.”
PluralEyes lets you sync audio and video clips without timecode, clappers or any special preparation. And now you have a chance to try out PluralEyes 3 (for free!). This version is a major upgrade which is more interactive, faster and dependable.
Synchronize Video & Audio Clips Quickly & Affordably
PluralEyes® works with your favorite video editing tool to instantly sync all of your multi-camera video and audio tracks – eliminating complicated camera set-ups, timecode, and hours of tedious manual syncing. Save time and money, reduce frustration, and free yourself to focus on the creative editing process.
How PluralEyes Works
Step 1: Record Video & Audio
Complete your dual-system audio, multi-camera, or multi-take shoot. There’s no need for any advance preparation, such as connecting cameras, recording timecode, or using clappers.
Step 2: Prepare Files
Using your favorite video editing tool (PluralEyes is compatible with Final Cut Pro, Premiere Pro, Media Composer, and other leading software), create a new sequence, then add all of your shoot’s audio and video clips to the sequence. Be sure to give each recording device its own track.
Step 3: Sync Files with a
Open PluralEyes, then click the “Sync” button. PluralEyes synchronizes all of your video and audio tracks automatically, so you can start the creative editing process using a layered timeline or a multi-angle display.
With the new Canon C300 cameras rolling out into the world one hoped that Canon would quickly release format and driver plug-ins for all the major NLEs so we could start importing the footage. With Tuesday’s release of the Canon XF Plugin for Final Cut Pro 2.0, most NLEs are supported now, at least on the Mac.
Top 7 Things Filmmakers Can Be Thankful for This Year
Happy Thanksgiving to all my readers and subscribers in the states, and a great big HELLO to everyone else around the globe reading my vlog today!
This is far from an exhaustive list, but when you’re gathered round the table today, why not say a word of thanks—depending on the crowd, maybe only in your head—for these recent developments in production and post. Let’s hope more than one is helping you work faster and smarter, but also much more sanely and creatively.
1. Monster Sensors in Smaller Cameras
Sony’s F65, the RED Epix and Scarlet, the Canon C300, even the disproportionately huge sensor in the iPhone4S camera are ushering in an era of tremendous potential for filmmakers at every level. All those pixels on a single sensor may be tied to the unending progression of Moore’s law (see #2, below), but camera manufacturers large and small have been working hard to do it right inside ever more nimble, portable packages. How they’ve done it—melding compression, optics, feature sets and form factor—is of course a matter of taste. But oh, the options—and the images.
Moore’s law has consistently shown computer processing speeds and memory capacity improving at exponential rates. 64-bit computing has been with us for some time, but just about every software application is finally up to the task of harnessing that power. And multicore systems just keep getting better. Apple’s latest 12-core Mac Pro is the fastest Mac Apple has ever released. NVIDIA’s Maximus technology, while already adding performance boosts to Adobe Premiere Pro CS5.5 running on PCs, could do even more for animation and compositing applications in the near future. Transfer speeds also got a much-needed jolt from USB 3.0 and Thunderbolt, which electrified more than a few attendees at NAB and finally arrived in products this summer.
3. Open Standards, Open Source and Open Protocols
Final Cut Pro X’s launch not withstanding, the widening industry adoption of open standards continues to knock down walls. Witness Avid’s recent softening with its open I/O initiative. Open-source projects and tools, while still rare, are helping VFX facilities share data across continents. The death-match fights between proponents of competing standards will never go away (how long will the battle between Flash and HTML-5 drag on?) and new formats may inevitably create future obstacles, but younger developers and filmmakers seem, well, more open to finding and agreeing on a standardized, shared path. Isn’t it finally about time?
4. Stereo 3D as a Means to an End
As 3D equipment and software drop in price and migrate to more applications, more and more filmmakers will get a chance to work in stereo. Some think this means a long, murky period head of trial and error, where 3D will be both greatly abused but also used to magnificent effect. Or, thanks to more seasoned hands giving it a try, perhaps stereo 3D as a stylistic device is finally coming into its own. James Cameron seems to think this way about Hugo, Martin Scorsese’s upcoming visual Valentine to the history of film. Cameron’s recent endorsement of the film—”it’s like a 16-cylinder Bugatti firing perfectly on every cylinder, and 3D is one of those cylinders”—shows where stereo 3D as a vehicle of storytelling might be headed.
5. Plug-In/App Developers
From the small, but consistently productive long-time developers to the filmmaker or compositing artist with a problem to solve, plug-in makers work hard to do what’s needed most: smooth out the clumsy and time-sumping workarounds or build-from-scratch workflows that vex anyone on deadline. They jumped in when Final Cut Pro X introduced roadblocks with its new version of XML and they were there when most editing software didn’t even talk to each other, let alone play well together. They will lead the way every time a manufacturer introduces a new software paradigm or camera format. And if their app is a game-changer, it will inevitably find its way into your tool of choice.
6. On-Set Digital Labs
Digital dailies, real-time color correction, virtual sets—once left for post to deal with long after production had ceased—are now essential parts of every production. Digital labs have given rise to various workflows, software and hardware configurations, even new job categories, creating new opportunities for filmmakers and manufacturers alike. The huge file sizes of all that raw data, thanks to those monster sensors (#1), will keep most laptops from doing the really heavy lifting, but the digital lab is still much more portable than ever before. Filmmakers can get on set or near set in locations once deemed unaffordable or logistically impossible.
7. The Mobile Workplace
With WiFi, 3G and 4G smartphones, iPads, and other mobile devices, the busy filmmaker can be anywhere, find any place, connect with anyone and do more, thanks to the deep thinkers (#5) who develop the devices and apps and social media to run on them.
Apple’s iPhoto is a powerful tool on its own, but it can do even more with the right plug-in. These tools will help you share, edit, and manage your iPhoto library.
Add High-Quality Watermarks
The Impression plug-in gives iPhoto users a simple way to add a pre-created watermark to batches of photos. When you export a watermarked photo, Impression re-imports it into iPhoto—a feature that can be helpful if you are working exclusively in iPhoto or plan on re-exporting the images later. One problem with the plug-in is that the controls are placed on top of the photo, which makes it hard to see the watermark until you take your cursor off of the photo and the controls disappear.
Many iPhoto users find themselves with multiple copies of the same photo, and deleting them manually can take eons. The Duplicate Annihilator—besides having an awesome name—is a great plug-in for deleting copies of photos fast. It goes through your library and uses a variety of algorithms to detect duplicate images, but also spots similar photos with minor differences. It can delete duplicates immediately upon detection, or mark them with keywords so you can sort through them yourself later. The result is a less cluttered, faster, and happier iPhoto library.
iPhoto ’11 has built-in sharing support for Facebook and Flickr, but not Google’s Picasa service. With Picasa’s iPhoto plug-in, you can upload images to your Picasa galleries. When you export your selected photos in iPhoto, the plug-in will give you the option to put them directly in a new or previously created album. True Picasa addicts may prefer using the stand-alone Picasa application in addition to or instead of iPhoto.
Share files that are too big for an email with YouSendIt’s iPhoto plug-in. The plug-in lets you send files up to 2GB in size for free (you’ll need to sign up for a free YouSendIt account). You can choose your file type and size during the export and can send personalized messages along with the file. You can only send one file at a time for free, but for a monthly fee you can also send large groups of photos through the plug-in.
Send large projects to the Web or a printer with custom borders, copyright information, and watermarks. This easy to use plug-in from iBorder FX has a simple interface for batch border, text, and watermark additions. You can control border sizes and ratios, stroke thickness, and drop shadows, as well as add blur and desaturated borders. Text can be added to each photo individually or to batches of images. The watermark tool lets you use your own logo or image and also has a variety of customization options. The best part about this plug-in is that you can save your presets to apply them to future images—ideal for a photographer who wants a uniform look for all of his or her photos.
Shutterfly is a great site for photo sharing and creating projects such as photo books and greeting cards.The service has created an active photo-sharing community by providing a space for users to share their pictures online. Its iPhoto plug-in lets you upload your photos straight to a Shutterfly account, into a new album or an existing one.
OK, this one is a stand-alone app not a plug-in, but it is an incredibly useful tool for iPhoto users.
Normally, you only have one iPhoto library for all of your photos. You then navigate that library through albums, events, and keywords. This single-library system can slow down iPhoto and get a little messy when you have thousands of photos from years of parties, birthdays, and trips. iPhoto Buddy’s solution is to create multiple libraries and manage them outside of iPhoto. You can create a new iPhoto library and see details about existing libraries—all without opening iPhoto. Double-click on a library within iPhoto Buddy to open it up in iPhoto.
Award-winning Technology Moves to Next Generation, Final Cut Pro X Support Coming Soon
Boston, MA/Atlanta, GA – August 25, 2011 – Boris FX, the leading developer of integrated VFX and workflow technology for video and film, today announced that it will partner with Nexidia, the leading provider of audio analysis and dialogue search technology for the media and entertainment industries, to launch Boris Soundbite, a fast and accurate tool to locate footage by finding any word or phrase spoken in multimedia files.
“Dialogue search has generated more excitement amongst editors this year than any other new technology,” said Boris Yamnitsky, President and Founder of Boris FX. “We are excited to expand our family of postproduction workflow solutions with Soundbite and we are dedicated to making it a standard part of every editor’s arsenal.”
Nexidia’s patented dialogue search technology, which has already received accolades from DV Magazine, Post Magazine, Creative COW, and others, quickly and accurately finds any word or phrase spoken in recorded media. With the new Boris Soundbite, video editors, producers, and journalists will be able to instantly play all occurrences of a spoken phrase in their media, then insert the perfect take into their Final Cut Pro project, organize clips around keywords, and even find replacement words for problematic audio.
“Leading editors already know that dialogue search saves time, reduces transcription costs, and lets them be more creative,“ said Drew Lanham, SVP/GM of Media for Nexidia. “By leveraging the development power and global reach of Boris FX, we’ll be able to bring a whole new generation of dialogue search to the Final Cut Pro community.”
Key Dialogue Search Features for Final Cut Pro
Key features of Boris Soundbite include:
Combine multiple phrases and standard Final Cut Pro metadata terms to search hundreds of hours of media in just seconds.
Preview results in the Soundbite player. Soundbite will search and play virtually any media file supported in QuickTime.
One click places selected clips into a Final Cut Pro project, including markers for each dialogue match and in/out points set in the Soundbite player.
Multiple languages and dialects are supported, including English, Spanish, French, German, Italian, and Dutch.
Boris Soundbite incorporates several features previously unavailable to Final Cut Pro users, such as:
Mac OS X 10.7 (Lion) Support: Soundbite supports Mac OS X 10.5.8 or later.
Streamlined User Interface: Soundbite presents users with a modernized user interface that facilitates fast, efficient operation from a single window.
Network Volume Support: Soundbite can access content stored on network drives that are mounted to the machine – including any drive or volume mounted on a desktop and connected via Ethernet in a LAN environment.
New Languages: In addition to English and Latin American Spanish, Soundbite is available for European French, German, Castilian Spanish, Italian, and Dutch.
Track Selection: To further increase accuracy, users can select which audio channels to search.
Pricing and Availability
Boris Soundbite will be available in September 2011 through the Boris FX worldwide reseller channel and direct from the Boris FX website for an introductory price of $295 USD. The introductory price will be offered for 30 days. Thereafter, the MSRP will be $495 USD.
A full-functioning 14-day trial version will be available for free download from the Boris FX website. Boris Soundbite supports Final Cut Pro v7 and v6.0.2. All Soundbite users will be eligible for a free update to a forthcoming version that supports Final Cut Pro X.
Owners of “AV3 Get for Final Cut Pro” will be eligible for a free upgrade to Soundbite. For more information, please contact Boris FX at email@example.com or +1.617.451.9900.
About Boris FX
Founded in 1995, Boris FX is a leading developer of VFX, compositing, titling, video editing, and workflow tools for broadcast, post-production, and film professionals. Boris FX products have grown to serve over a million artists worldwide. The company’s success lies in its ability to tightly integrate and leverage technologies through strong partnerships with Adobe, Apple, Autodesk, Avid, Grass Valley, Sony, and other leading developers of video editing software.
Nexidia is the audio and video search company with patented technologies and breakthrough applications that enable customers to quickly gain new insight, build competitive advantage, and realize the possibilities for monetization in audio and video content from media outlets, contact centers, government intelligence and legal discovery.
Boris FX and Nexidia Unveil “Soundbite” Dialogue Search for Apple Final Cut Pro
Digital Film Tools’ volumetric lighting effect plug-in Rays, formerly only available for Photoshop, Lightroom and Aperture, now works with the major nonlinear editing applications from Adobe, Avid and Apple, including Final Cut Pro X. Other popular volumetric effects plug-ins, like Red Giant’s Trapcode Lux 1.2, work only in After Effects. This update, however, is welcome news for the majority of editors and motion graphic artists who run more than one program on a single workstation. If you regularly work with After Effects, Premiere Pro and Final Cut on one machine, for example, a single Rays film/video plug-in license lets you use it across those applications. A separate Rays photo license, however, is required to use the original version of the plug-in with Photoshop.
The new Rays Video/Film plug-in, as you might expect, is slightly more expensive than the original $50 Rays Photo plug-in. But for $99, you get some nice control over the color, direction, length and brightness of your rays, plus a number of on-screen displays that include sliders for selecting precise values. You can also control Threshold (to pin-point where you want the rays to be visible) or mix up your effect with a randomize option.
Create stunning and realistic light ray effects quickly and easily. Known as volumetric lighting in computer graphics or crepuscular rays in atmospheric optics, this dramatic effect adds polish and style. Since the rays are only added to highlight areas, they have the effect of passing through objects and add a third dimensional quality. Add shafts of light streaming through clouds, rays filtering through a forest canopy, beams of light on a foggy night or rays shooting out from text. Rays adds a striking and dramatic quality to any image.
- Set the ray length and brightness
- Control ray direction with an on-screen control
- Customize the color of the rays using a color picker
-Threshold control to specify where the rays will be visible
- Randomize the rays
- Modify settings with sliders
- Integrated Help
One Rays photo plug-in license will allow it to run in Adobe Photoshop, Adobe Photoshop Elements, Adobe Photoshop Lightroom and Apple Aperture if installed on the same machine.
One Rays video/film plug-in license will allow it to run in Adobe After Effects, Adobe Premiere Pro, Apple Final Cut Pro (including FCPX), Apple Motion 5 and Avid Editing Systems if installed on the same machine.
Need a matte generated from an image or video shot on a black background? Knoll Unmult will create an alpha channel from any image shot on black. This is particularly useful for generating alpha channels for flares rendered on black or video or filmed media that is shot on black like cloud tank, lighting, or water droplet on glass—like the shots done in Episode 47 of Red Giant TV.
Knoll Unmult works in After Effects CS3, CS4, and CS5.
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Check out other free software (see below) via Red Giant by clicking here!
I did a little bit of beta-testing for this suite, and two tools I found particularly useful were Render Watcher and Quick Bins.
Watches a set of directories, render files or Compressor batches and notifies you via a sound and Growl notification when renders are complete. Can be set to sleep, log out or shut down the computer when all renders are finished.
I used Render Watcher on a big Avid project that had several effects-heavy sections. I set Render Watch to use a .mac email address that was pushed to my iPhone. It worked very well as I would put on the render and head out for a walk and would get a near-instant notification when the render was done. You can set Render Watcher to text, but I had better luck with email. Plus you can tell it to play an alert sound, which is good if you’re going to hang out in the edit suite. Yes, Media Composer now has its own render email notification, but I like the added functionality of Render Watcher.
Generates bins in sequence (e.g. 1-100) or sorts media into bins based on specified criteria (reel, scene, file type, etc). Very useful for quickly sorting an untidy mass of dailies. Not supported by Avid Media Composer
Quick Bins is FCP only and I found it very useful on a recent DSLR job. The DIT had nested the footage quite deep within the Finder, so Quick Bins helped me pull clips out of those nests once I had imported the folders into FCP. It was also able to sort clips and bins based on a number of specific criteria, including frame rate, which was more helpful to me.
Detects when a drive is inserted containing P2, RED, AVCHD or XDCAM media and can automatically copy it to your computer. It can copy to multiple locations at once and verifies the copied data to ensure its integrity.
Renames multiple files at once with options including find and replace, frame re-numbering, frame padding and more.
Scans video files to locate where edits and scene changes occur. Can output QuickTime movies, marker lists, Final Cut Pro XML files, EDLs and ALEs.
Gamma Shift Detector
Detects gamma shifts between source and destination media. It will tell you if the shift directly affects the pixels in the image or if it is just a mismatch in metadata.
Provides a complete overview of your Final Cut Pro project, allowing you to view and batch-edit all media, effects and markers. Not supported by Avid Media Composer
Edits QuickTime movies. You can add and remove media, edit timecode information, modify chapters, change metadata and more. All changes are displayed in a real-time preview window.
Performs common tasks on sequences, including replacing gaps with slugs, collapsing tracks, removing unused tracks, and stripping filters. Not supported by Avid Media Composer
Scans a video file for illegal luminance values, flash frames and audio peaks and shows the exact frame where errors are occurring. Can output results to FCP marker lists, Avid locators, CSV and text.
Essential color tools for filmmakers around the world
“At Red Giant Software we believe not only in providing powerful, valuable tools for professionals, but also in contributing to the filmmaking community. We believe that some basic things, such as creating and sharing creative color choices in industry-standard formats, should be free to all filmmakers.“
- Stu Maschwitz, Creative Director for Magic Bullet products at Red Giant Software
Magic Bullet Colorista Free: Color correction for every artist
Colorista Free is a simplified, elegant color corrector that anyone can share and use. You get exactly what you need with basic controls designed by experienced colorists, like the 3-Way wheels from our popular Colorista II and numeric sliders for precise numerical accuracy. For high-level work, Colorista Free is workflow-ready to share Color Decision List (CDL) values with CDL-compliant host apps and conform your color work to industry standards. Set your colors free.
Magic Bullet LUT Buddy: Make LUTs, share LUTs, use LUTs
LUT Buddy was created for the professional colorist and came directly out of the film work of Stu Maschwitz, our Creative Director. The plug-in runs in desktop apps like After Effects and FCP, then exports its LUT output to communicate with higher end systems ranging from DaVinci Resolve to Panasonic displays. If you’re already using 1D or 3D LUT’s in your workflow, this tool was designed for you to share values between compliant software and devices.
Red Giant is a company that makes software products. But the people who work here are filmmakers, photographers, designers and artists… just like you. We value tools that help us share and communicate, and we feel that some basic things should be free. That’s why we are giving away Colorista Free and LUT Buddy, two new tools that make color grading accessible to the filmmaking community. We hope our gift inspires you to do something that adds to the creative movement because we can’t really share until everyone has the tools.
Introduction to Colorista Free and LUT Buddy
Our company, Red Giant, is made up of filmmakers and enthusiasts who value tools that help us share and communicate, and we feel some basic things should be free. We are giving away Magic Bullet Colorista Free and Magic Bullet LUT Buddy to make color grading accessible to anyone; whether you are a high-end colorist taking advantage of a CDL workflow, or a first time user looking to experiment with color grading. Colorista Free and LUT Buddy are our contribution to moving the filmmaking community forward, because you can’t really share unless everybody has the tools.
What is Colorista Free?
Magic Bullet Colorista Free is a simplified color corrector that anyone can use in After Effects, Final Cut Pro and Premiere Pro. This tool uses our popular Colorista 3-Way color wheels and precise numeric sliders to give everything you need for basic color grading. It also supports the industry standard Color Decision List (CDL) which lets you to share and communicate with other CDL-compliant applications and hardware devices. We are proud that Colorista Free is the only free CDL-enabled software designed for desktop editing applications.
What is LUT Buddy?
Magic Bullet LUT Buddy is a professional tool that generates Look Up Table (LUT) data within the host apps After Effects, Premiere Pro, Final Cut Pro and Motion. In a simple operation, the LUT can load into almost any color correction system, from Apple Color to FilmLight Baselight to DaVinci Resolve. The LUT can also render in hardware devices like Panasonic or Sony displays for previewing a color correction on the device. Because it lets all artists share the same color correction data, LUT Buddy truly bridges the gap from desktop apps to high end systems and hardware boxes.
Do I need to download both products?
Each product works on its own and is a separate download. We are simply making them available at the same time because they share the ethos of making color correction more accessible. Combined, the two products allow editors, motion graphic artists, compositors and colorists to share their color decisions. Please note: While Colorista Free is a fun, powerful tool for all artists, we recommend LUT Buddy only if you are already familiar and working with LUTs.
How do I know if I need LUT Buddy?
Folks who need LUT Buddy will instantly recognize its value since we designed LUT Buddy for the professional colorist and compositor. LUTs are part of a cool but somewhat esoteric professional workflow for sharing color correction operations across different users. Because LUTs take some explanation, you should read the documentation and decide whether this product is for you. The product is simple to use but you have to understand what to do with the color data it generates.
Do I need Colorista Free if I already own Colorista II?
This depends upon the work you do. Colorista Free has two features that are not in Colorista II. Its CDL Burn and numeric sliders give you new functionality for a CDL-enabled workflow. The sliders allow you to directly edit the numeric values for your color correction. These are great features to have! We encourage you to download and use Colorista Free alongside Colorista II. All other Colorista Free controls are available in (and modeled after) Colorista II.
Does Colorista Free use the same Lift, Gamma, Gain color correction as Colorista II?
Yes! Part of the magic of Colorista Free is that the color wheels use the common Lift, Gamma, Gain model that produces pleasing results for Shadow, Midtone and Highlight correction. Behind the scenes, we translate theses operations into CDL-compliant Offset, Power and Slope values that can be shared with other systems. With Colorista Free, you get the nice intuitive interface you expect without having to deal with the nerdy concepts of offset, power and slope.
When should I use Colorista Free?
Colorista Free is ideal for anyone who needs basic, beautiful color correction. The product is also intended for colorists who can benefit from a CDL workflow. Colorista Free is an ideal addition to any color grading workflow since its CDL Burn allows you to share projects or settings with colleagues who do not have Colorista II.
What is CDL?
CDL stands for Color Decision List, a universal color grading standard from the ASC (American Society of Cinematographers) that anyone can follow and implement. It provides a format for the exchange of basic primary color grading information. Think of a CDL as the PDF of the color correction world. CDL’s let you enter and edit color values in an application and share them across other compliant software. Colorista Free exposes its CDL data and makes that list available for an open, easy workflow that conforms to professional colorist standards.
What is a LUT?
A LUT or ‘Look Up Table’ simulates what color output will look like. It is mainly used for communicating between color systems that don’t have another way of talking. LUT Buddy supports a wide variety of LUTs, such as a 3D LUT which captures sophisticated operations like Lift/Gamma/Gain, Hue offset, Saturation change and color selection. Let’s say you use our Colorista II plug-in to make color adjustments in Final Cut Pro and you want to move those color decisions to an Autodesk Smoke system. LUT Buddy can capture that information as a .3DL file, and Smoke can open that file to recreate the color changes with very close fidelity. This sharing of information is what LUTs are all about.
When should I use LUT Buddy?
LUT Buddy is a very specialized product that lets you capture and communicate more complicated color correction operations that possible with the CDL-compliant correction in Colorista Free. LUT Buddy is designed to provide an easy method to communicate color correction operation between editors, compositors and colorists using different software applications or devices.
How does LUT Buddy work?
LUT Buddy works on a simple idea—you can capture color correction operations by measuring the changes in a set of known pixel values. LUT Buddy draws a complete set of color tables on an image before any color operations are executed. The user does his color correction on the image with the tables. Then LUT Buddy reads the changes to the color tables and extract the difference as a Look Up Table or ‘LUT’. A number of industry-standard export format are supported, including common 3D LUTs for Nucoda, Autodesk, Apple Color, Iridas, and Tweak RV formats.
Can I use LUT Buddy to extract and share the color presets from Magic Bullet Looks?
No. LUT Buddy does not work on color operations which create changes across multiple pixels, and that’s what Magic Bullet Looks is all about. While LUT Buddy does capture some of these operations, such as 3 Way correction or Secondary correction, using Looks controls like Diffusion, Vignette and Streaks will utterly confuse LUT Buddy. The undesirable result will be that the output from LUT Buddy will look nothing like the presets in Looks. We are giving away LUT Buddy to help filmmakers, not to confuse them.
Can LUT Buddy capture color changes in Colorista II or other color correctors?
Yes, up to a point. Operations such as 3 Way correction, Saturation, Hue, Secondaries, and Curves can all be replicated in a 3D LUT created by LUT Buddy. Other color tools that do similar operations, such as Final Cut Pro’s Color Corrector 3-Way, can also be captured with LUT Buddy. However, operations that only change a part of image, like the Power Masks or Pop slider in our Colorista II, will break LUT Buddy. The output will either be garbage or will look nothing like your intended changes.
DropCopy is a nifty utility that takes advantage of Mac OS X’s Bonjour technology to simplify transferring files between Macs on your local network. We first reviewed DropCopy back in 2006, and while the program’s basic functionality is the same, the developer has added a number of minor feature tweaks.
When launched, DropCopy displays a small “dropzone,” which looks like a black hole, on your desktop. When you drag files or folders onto that dropzone, a menu pops up showing any other users on your local network who are also running DropCopy. (You can opt to show the names of computers, rather than users.) Drop a file onto a user’s name, and the recipient gets a request to receive the file; if the request is approved, the file is copied to whichever folder the user has specified for DropCopy downloads. (To streamline the process between trusted users—say, on your home network—you can opt to receive files without approval.)
While local computers running DropCopy appear automatically, you can also manually add (by IP address) destinations outside your local network, and you can add SFTP servers. However, you can’t add an iDisk as a destination—an option I’d like to see, as I often share files with others via my iDisk Public folder.
DropCopy also allows you exchange the contents of the Clipboard between two Macs—useful for sharing text—and it lets you send onscreen messages. The latter option is useful mainly if one or the other user isn’t logged in to iChat.
DropCopy provides a number of options for tweaking its behavior and monitoring progress. For example, you can opt to run DropCopy without a Dock icon, making it unobtrusive except when you need it, and you can choose to have the dropzone appear either on your desktop or above all other windows. (One option I’d like to see is a keyboard shortcut to toggle between the two settings, as I can’t often see the desktop on my main Mac, and having the dropzone float above other windows at all times can be a distraction. Alternatively, I’d like to be able to view the dropzone as as a window or a palette.) The program can also use Growl notifications and audible feedback for completed transfers.
Perhaps the biggest complaint I have is that the dropzone’s text is tiny and—with a high-resolution Apple Cinema Display and aging eyes—squint-inducing.
DropCopy is available in three versions: The free version, available from the developer’s Website or the Mac App Store, is free and lets you use it on up to three Macs. A $5 Pro version (Mac App Store link) covers up to 10 computers. Finally, you can purchase a $25 site license for use on an unlimited number of computers.
When DropCopy debuted, five years ago, it was a truly unique solution for easily moving files between your Macs—there was nothing else like it. These days, you many more options, from Dropbox to a number of DropCopy-like utilities (and, in the upcoming Lion version of OS X, AirDrop, which is very similar to DropCopy). But DropCopy remains one of the simplest tools for transferring files from one Mac to another: There’s no configuration needed, and you don’t even need to mount a shared volume, as you do with OS X’s own File Sharing. If you want an easy way to transfer files across a network, DropCopy makes it drag-and-drop simple.
PHXY Color PHXY a company, which produces various color and keying plug-ins sets for Final Cut Pro, Final Cut Express, Motion, and Adobe After Effects, has aligned itself under the Noise Industries and FX Factory engine. Therefore, in order to use the PHXY filters you must already have Noise Industries’ FX Factory installed.
Re:Vision Effects-Twixtor Version 5
Twixtor does for time remapping whether for slow motion or speed remapping footage what the new time remapping functions in Final Cut Studio aspires to. This is not to say the Final Cut’s speed tools were not improved in Studio 3 but, from what I can see and test, it does not perform quite as well as Re:Vision’s Twixtor.
Red Giant’s Magic Bullet Denoiser
Low light = video noise, there is no doubt of that. Of course there are many other factors that contribute to video noise but the entire focus is where to go from here, when you have footage that simply can’t be re-lit or shot. I have tested many ‘denoiser’ filters and have only found one or two that did a commendable job. However, as a result of their use there was definitely some softening of the image.
PluralEyes -for Synchronization
Singular Software has come out with PluralEyes, now in its 1.2 version, which provides automatic synchronization with or without time code enabling you to sync your multiple audio and video layers seamlessly.
Boris Continuum Complete 7 FxPlug Review
I have been so privileged to test-drive the new incarnation of Continuum Complete 7 FxPlug for Apple Motion. I have spent a lot of time in the last few weeks with Continuum Complete 7 FxPlug, and still feel that I have only scratched the surface of what I think is an amazingly massive collection of filters, effects and generators for Motion Graphic Artists and Editors.
Boinx has recently released its FotoMagico software application that is compatible with both Final Cut Pro, Final Cut Express and Adobe After Effects users which allow you to easily and quickly create your own slideshows containing text, music, transitions and other photo animations.
Crumple Pop’s ‘Revealer’ and ‘Metal‘ Crumplepop must have an ambitious staff as for the last couple of years they have been regularly producing interesting and useful plug ins for Final Cut Pro and Motion.
Keylight™ is a powerful plug-in from UK’s The Foundry, (maker of the high-end Nuke compositer/VFX program). Keylight is used on chromakey shots in virtually any major feature film you can think of. It comes from a product developed specifically for motion picture chromakey work, normally bluescreen production.
CHV Electronics Updated Distortion Collection Version 4.0
While the CHV Electronics Distortion collection has been around for some time now, Christoph Vonrhein of CHV Electronics has now completely re-written the previous version. This latest version of the venerable Distortion collection, in addition to providing a new plug-in not found in the previous version, addresses and fixes all alpha-channel issues and is now fully compatible with Final Cut 7 and Snow Leopard.
Luca FilmFX & Light Transitions
Luca Visual FX is a new company that has simplified the entire process by developing their own Film and Light transitions that are easily applied and may be modified to taste. The Film Transition package comes with 30 individual effects and the Light transitions collection arrives with 33. Almost all the effects are less than 2 seconds long.
Red Giant’s Magic Bullet Mojo
Color correcting with Final Cut Pro’s 3 way color correction and scopes is one thing, achieving certain cinema graphic looks is another. While Magic Bullet Looks provides an excellent starting off point for many of these looks, tweaking the appearance and just settling upon the great many choices within MBL can be as time consuming as when working in After Effects.
CrumplePop Split Screen Plug-In CrumplePop has recently brought out a new plug in for Final Cut Pro that makes the job of creating any number of different forms of split screens as easy as one could imagine. In actuality, you get two plug-ins; one with roughly 70 different split screen appearances and the other provides customizable sets of blocks so as to make your own forms of split screens.
Gee Three SlickFX
When Final Cut Pro first made itself known I recall trying to buy, borrow or copy any 3rd party plug in I could find. Now I have more than I will ever need, use or want. However, for many editors who have not amassed the numbers I have, the search for a good collection of filters, generators and transitions produced by Gee Three SlickFX may provide you with another valuable choice from which to choose. Each of these sets of plug ins requires Mac OS 10.4 or higher, Final Cut Pro 5.1.2 or later or Final Cut Express 4 or later and will work on both Intel and Power PC Macs. All plug ins can be located in the library/plug-ins/FxPlug folder.
Digital Anarchy’s Beauty Box
Beauty Box is a skin retouching software, which uses Face Detection to identify skin tones at the same time as it preserves important facial features. It is, by design, easy to use and intuitive even though the downloadable manual provides a considerable amount of additional and useful information, which helps to clarify many of the manually adjusted parameters that Beauty Box incorporates.
Neat Video Noise Reduction
The bane of all videographers is the video noise created as a result of many factors, one of the greatest of which is the noise resultant from shooting in low light situations. There are a number of ‘reduce noise’ filters produced by several 3rd party plug in companies, certainly some are better than others and, based upon my experience, some are almost completely ineffective.
Boris Continuum Complete 6 Review Just ask yourself what is it that you cannot do in Apple Motion but always wanted to be able to do. I am sure, that in most cases, creating 3d objects will come top of the list. Well, I am pleased to say, fear no more, because you will be amazed to learn that all of those things are now possible by using Boris Continuum 6.
Noise Industries FxFactory Pro 2.0.8
That’s $399.00 only to those who do not already own FxFactory, for everyone else the new Noise Industries version 2.0.8 is an absolutely Freedownload available on the Noise Industries website. Now long established as one of the leading 3rd party plug- ins and effects companies, the latest version of FxFactory comes with two new plug ins, the Spot Light (multiple) filter and the Organic Dissolve transition.
nVeil Visual Effects Software
It is not often that something this different, this unique comes across my desk. So yes, I am pretty excited about it and its potential use by graphic designers and editors. nVeil is a Graphics application that appears in Motion and Final Cut Pro as a plug in filter.
CoreMelt’s Complete V2
Long associated with Noise Industries plug-ins and software, CoreMelt has branched off and gone on its own separate path. In doing so, the folk at CoreMelt have further developed their own collection of transitions, filters and generators and, with that development, produced some outstanding and exciting new features all designed to work in Final Cut Studio, Express, Motion, and Adobe After Effects CS3/CS4.
The Grading Sweet 3
There is no question that without good color correction tools, many editors would be in a heap of trouble. No matter how good the shooter, or how capable the lighting tech, achieving continuity in color is a chore often fixed in postproduction. This is where the Grading Sweet 3 set of plug-ins comes in.
Red Giant’s Magic Bullet Steady 1.1
The Steady filter is fairly intuitive, easy to apply and considerably quicker than Final Cut’s Smooth Cam filter. That it doesn’t create additional analysis media to fill up your hard drives is a major plus for any one whether they are using a tripod or hand holding.
Ripple’s Designer Motion Templates
There are few times when I come across products having value added “hidden in the details”. Ripple Training’s “Designer Motion Templates” falls squarely in this group of outstanding products. Not only is Ripple supplying a great product in and of itself, it’s supplying training which is as good as it gets.
Loader – smart import solution for FCP
So, here’s the problem you’re constantly facing: Staying organized.
You import items into Final Cut Pro. Did you organize where they were on your hard drive before you imported? After? What about that mp3 you pulled from iTunes? What’s your best plan for backing up?
DV Kitchen is a stand-alone application that combines many different functions into one professional program. Integrated batch encoding and uploading (via FTP) for publishing high quality video, images and audio. SampleLab for testing different encoding settings. TimeFreezer for exporting stills from video clips. Bitrate Budget Calculator for estimating the right bitrate settings for your clips. Media Publishing that automatically generates your HTML code for you and makes publishing your webpage a one-click process. When you launch DV Kitchen the ‘Main Console’ window opens, at the top right are tabs used to access other functionalities of DV Kitchen.
CHV QC Integration FX V1.6
The QC Integration FX 1.6 is comprised of 85 plug in transitions, filters and generators designed to be used as they are or work within the quartz composer to enable you to create and save your own plug ins, or even to create and sell them to others. In order to create your own FX for yourself or for sale, you must first have Quartz Composer found on your OS installation disc installed.
Yanobox Motype 1.0
Designed to work within the Noise Industries’ Fx Factory application for Final Cut Pro, Final Cut Express, Motion, and Adobe After Effects, Yanoboxs’ Motype is a single text animation FX plug-in with multiple presets designed to create some very creative text applications.
Red Giant Software’s Magic Bullet Instant HD Advanced
Back in June 2006 I reviewed Magic Bullets’ Instant HD, a program designed to help the editor incorporate Standard Definition footage into an HDV or HD sequence. It was designed for users of Final Cut Pro 4.1+ and Adobe After Effects 6.0+ and worked its magic by up scaling the source footage. It did its job well though it was not accompanied by the easiest workflow in the world.
Core Melts’ PolyChrome Transitions
The collection of Core Melts’ PolyChrome transitions is a set of 40 transition effects, many of which are absolutely necessary within the editors’ arsenal of production tools. Compatible with both Final Cut Pro and Final Cut Express, the PolyChrome collection of transitions are GPU accelerated on PPC and Intel Macs which will help cut down on your rendering time.
Magic Bullet Suite 2007
Don’t let that $799.00 scare you off before you read this. In the new Magic Bullet Suite you are actually getting four separate applications which can be used in Final Cut Pro, Motion 3, Adobe After Effects, or all three. Magic Bullet Looks, MB Frames, MB Colorista and Instant HD make up the entire suite.
idustrial Revolution’s SupaWipe
Wipes have been used as transitions for as long as I can remember. In a sequence, more often then not, they represent the passing of time or a jump to a different location. In feature films they fell out of favor until George Lucas brought them back in a major way in his Star Wars series of epic Science Fiction movies.
Digital Anarchy’s ToonIt 1.0.2
You have surely seen the many commercials on television and in film where the actors have been transformed to cartoon versions of themselves. It is not a hard process to create but it can be time consuming…
Boris Continuum Complete 5 FxPlug
BorisFX Software’s recently released BCC5 FXPlug for Motion and FCP6 is as close to a perfect art collection as you’ll find. Wide ranging, diverse, and powerful, this collection provides options for just about everyone’s palate.
Conduit is a nodal-based compositor. Instead of working with layers in programs like Final Cut, Motion and After Effects, it uses a flow-chart design similar to programs like Shake and Nuke.
Particleillusion Pro Emitters Collections 10-12
For those who find themselves spending endless hours creating special effects in Motion utilizing the particle generators to create flowing water, lower thirds, dynamic texts, animated backgrounds and FX of all kinds, look towards particle illusion to enable you to cut your editing bay time by half or more. Actually, particleIllusion is more powerful than Motion’s particle emitters …
Core Melt Image Flow Fx 1.0.1
Noise Industries and Core Melt have brought to their ever growing number of plug ins an exciting new package of 12 Fx plug ins designed to make the creation of motion graphics using still images that much easier. This is not your typical slideshow presentation but is an excellent time saving set of plug-ins which allow you to select multiple styles of frames with your images, adjust animation with multiple presets or manually set animations, and control of tempo.
CHV FxPlug Emitter Plugin
There are a number of basic differences between a Motion stock emitter and the Particles Heaven FxPlug plugin. For starters, Particles Heaven is not an emitter, it is a generator and is found in the Generators section in the Library. Additionally, unlike a stock emitter, Particles Heaven’s particles are all independent of each other.
SUGARfx for Final Cut Pro
Video Wall Pro
Cinefest Plug-in Package
Video Wall Pro, and the other plug-ins mentioned here provide excellent tools for creating a variety of motion effects in Final Cut Pro and Motion. If you are a novice, you can start with a stock preset and augment it to meet your particular needs. Or you can mix and match various parameters in 2D and 3D space to create a custom look. Because these are FxPlug-based filters and generators, speed in rendering is directly related to the power of the GPU.
Lyric Media Final Cut Plug-ins
Lyric Media has been in business for sometime now having collections of tracking and drawing plug-ins for Final Cut Pro as well as others. This new collection comes to you as a collection of over 50 different video effect filters, many of which provide several of the image correction, photographic and stylized effects found in Photoshop only now applied to video as well. The Lyric Media Final Cut Plug-ins have been separated into Special Effects, Masked Effects and Mattes folders once installed on your system.
CHV-Electronics Shining FXPlug Plugins
Plain and simple, Christoph Vonrhein and CHV-Electronics has done it again. With an ever updated collection of excellent plug-ins behind him, he must never be satisfied with his accomplishments for here we have now a new bundle of filters he has entitled Shining FX.
Nattress’ Big Box of Tricks
Graeme Nattress’s latest contribution of plug-ins, which includes eight separate sets of filters, one set of transitions and one of generators. Each group of filters contains several usable and some eclectic plug-ins.
Digital Anarchy’s Plasma FX 1.0
With Plasma FX, a set of 26 filters, there is almost no learning curve. Application of any of these filters is simple and greatly intuitive whether you use them in Final Cut Pro, Motion or After Effects. Plasma FX 1.0 is built to run in Adobe After Effects 7.0 and higher, Final Cut Pro 5.1.2 and Motion 2.1.2 and only in Macintosh OS 10.4 or higher.
FxFactory 1.0.1 Final Cut Studio/Motion
Noise Industries has released FxFactory for Final Cut Studio, a collection of real time visual effects packages available for Final Cut Pro and Motion. More than thirty transitions, generations, and filters are available as a compositing package for Motion and an editing package for Final Cut Pro.
Volumetrix Light Plug-ins
I just spent a good part of my weekend putting off writing this review so I could have a ton of fun just playing with the Volumetrix plug-ins for Apple’s Motion and Final Cut Pro Studio. It wasn’t time wasted as there really is so much you can do with these two plug ins…
CHV-Electronics FXPlug Plug Ins
Now we are again treated to Christoph’s latest contributions to the Final Cut Pro community with two small collections of plug-ins, the Magic 3D FX and the Morphing FX sets. Both bundles utilize the newest FX plug-in architecture from Apple, which allows for higher render speeds and better system compatibility. Having been introduced with Apple’s Motion 2, it is now also available for Final Cut Pro 5.1.2.
DVFilm Maker DVFilm Maker is a unique product designed to provide the Film Look that so many are seeking when shooting with their DV cams.
When I heard that Red Giant software, already well known for the Magic Bullet Suite, had come out with a conversion plug-in for After Effects, Final Cut Pro and Premiere Pro that would enable the editor to up-convert standard DV video into a variety of HD formats, I just had to take a look.
Digital Film Tools 55mm Plug-ins For FCP
For those looking for a set of Final Cut Pro Plug-ins featuring wowy, zowy transitions and filters full of exciting shard breakaways, 2 & 3D animated turns and flyaways, morphs and motion trackers….well, time to look elsewhere. They exist, but just not here. This is a very specialized set of plug ins, subtle in their effects but immeasurably more useful to the artist editor who is not just satisfied with the look and feel of standard video.
Sapphire Plug-ins for FCP 5
Sapphire plugs, previously available to the Adobe AfterEffects and Avid community is now here for the Final Cut Pro user as well. The entire package comes with over 175 plug-ins separated into 4 ‘boxes’ which can be purchased separately or bought as a full bundle. They don’t come cheap but there is real quality in this package and you get all that you hope to.
Dissolve Factory by Buena Vista
When using the standard Final Cut Pro cross dissolve the pixels from both the source and destination clips fade at equal rates, their transparency equitable on both ends. Nothing wrong with that but suppose we could make that dissolve just a bit more interesting, a touch more dynamic, a little less dull?
Ampede LayerLink 1.1 for Motion
Enter LayerLink for Motion 1.1, a $119.00 plug-in that imports Illustrator multilayer files (including CS) as a project in Motion with separate layers for each of the layers created in Illustrator.
Boris Continuum Complete 3.0
By David Saraceno. After spending three weeks working with this impressive array of FCP plug-ins, I’m convinced its name should be changed Boris Continuum “Wow.”
55mm Digital Optical Filters for Photoshop
Digital Film Tools has created an amazing set of filters in the 55mm filters package which offer an enormous degree of control and flexibility, they work extremely well, the effects generated are excellent.
Boris Continuum Complete 3.0
By Steve Douglas. A year ago I read a review of Boris Continuum 2.0 and was highly intrigued. I knew of the Boris reputation for quality but I also knew of its reputation for having a high learning curve
Magic Bullet for Editors
One more opinion on MBE by David Saracino. “Magic Bullet For Editors (MBE) consists of two elements: the Look suite of filters designed to emulate film; and Misfire, which adds film-like “damage” to your video.
Magic Bullet for Editors
Two years ago, a friend told me about this “amazing” piece of software that would take 60i video and convert it to 24p (twenty-four progressive frames per second) making it look “just like film.” In addition, I was told that the software came with a “Look Suite” which contained customizable controls and presets that simulated different film stocks and “looks.”The software was called “Magic Bullet…”
New on my Cluttered Desktop – The Final Installment
Ned Soltz clears his messy desk for the final time and reviews:
Contour Design ShuttlePRO v2, DVRig Pro, Soundtrack Additional Loops, Handwritten Volume 1 for LiveType, LiveType Central for LiveType, Screen Caffeine for LiveType, and A Luna Blue LiveType: 01. Whew!
Drawing Tools is a set of very interesting and useful generators for constructing geometric shapes and lines in FCP and FCE.
ANIM Jewels NTSC and PAL – by CGM
The Anim Jewels collection of motion graphics consists of 4 separate themes, 1) Earth Collection 2) Wedding Rings 3) Background Patterns and 4) Curtains, Album and Flags. These can be purchased as separate collections or as a package containing all.
A Plethora of Plug-Ins and A Peck of Programs
Ned Soltz once again clears his desk of all that messes it and takes a look at CGM Plug ins Vol 3 for FCP and FCE, Curious gFX, 55mm 3.0.1, and G Film and G Standards converter. Whew!
Sapphire AE 1.0 for FCP
The long-awaited release of the GenArts Sapphire filters for AE has come! And, as an added bonus, Sapphire AE 1.0 is fully compatible with FCP.
CHV-Electronics – The Clone Collection
“When Christoph of CHV asked me for suggestions for FCP plugins it took me exactly 2 seconds to reply. “I want a Clone tool like the one found in PhotoShop”. Now a short time later I am working with two Clone tools from CHV. The Pre Defined Clone tool with built in shapes and a Variable Shape Clone tool that lets you create an exact custom shape with up to 24 settable points to outline a shape.”
Automatic Duck Pro Import FCP/Automatic Duck Pro Export In development for several months, designed to leverage the industry standard Open Media Framework architecture with FCP’s and Avid’s new XML metadata support, Automatic Duck’s Pro Import/Pro Export plugins for Final Cut Pro have arrived, and they prove to be a quackerjack duo in getting FCP’s and Avids to talk to each other.
Special Effects Filters for Apple’s Final Cut Pro 3 & 4
As FCP grows in popularity and usage we are seeing more and more third party support. There are now a number of players selling plugins for FCP. While each of these different vendors offer many similar types of plugins, it seems that each package has a few unique plugins that make the package worthwhile. Such is the case with G Filters.
Eureka Plugins for FCP 4
A long time ago, in a version far far way, when the Universe was rendered in RGB, there was a ‘first’ set of plugins. We knew not their origin nor creator, we knew only the name, Eureka. The forces of YUV swept in around the time of 1.5. driving the leader of Eureka, ‘Romantic Text’ from the Galaxy. Now, re-written for YUV and FCP 4.0.1, Eureka is back.
Automatic Duck Pro Import 2.0
Automatic Duck has now been upgraded to Automatic Duck Pro Import 2.0 with increased capabilities and merger of multiple import filters for a variety of applications into one import plug-in. The result is that a sequence exported from Final Cut Pro 3 as well as Avid systems can be brought into After Effects or into an exciting new product which will be shipping in the near future, Boris Red 3GL.
Boris Continuum Complete
Ken Stone reviews the latest BCC plug in packaage. Says Ken: “After loading Boris Continuum Complete 2 into FCP, I went through the Effects Menu. I guess that it was a little bit like wandering around NAB and looking at all the new and exciting video equipment, there is almost too much good stuff.”
Virtix Plug-ins for FCP
Virtix Effects consists of 30 Video Filters which install normally into the FCP plug-ins folder. Just merely reading the effect titles fills the user with anticipation that such a relatively inexpensive package can achieve so many effects.
A brand new plugin from the people who bought you Motype and Nodes. Yanobox recently released ‘Barcode’ a free generator for Final Cut Pro, Motion, After Effects and Final Cut Express which lets you generate and animate EAN 13 barcodes, with unique and unexpected results.
Yanobox Barcode is a FREE generator that simulates the European Article Number aka EAN-13 barcode used on everyday products across the world.
Our version provides some unusual features like custom color modes and random digits, transforming the classical barcode to an eye-catching Motion Graphic element.
Customize Play with the color module, change the font, resize the bars to create a unique style.
Animate Use random digit, draw the elements progressively with the adjustable completion parameters.
Share Create your own presets and share with others and among all supported host applications.
Click here to view and download…
Yanobox Barcode is a FREE generator that simulates the European Article Number aka EAN-13 barcode used on everyday products across the world
Have you ever set a looooong render on one of your favorite post-production applications and watched as the render bar ticked away and the app tried to give you a best guess as to how long the render might take? And have you ever watched in frustration as the actual length of time it took to complete the render was way longer than the estimate? Perhaps you walked away and came back when the render was done, never knowing how long it really took to complete … maybe you could have returned a half-hour earlier. Or maybe you set a program for a long batch conversion and checked back multiple times only to find it hadn’t finished.
If even one of those scenarios applies to you, then this little Mac OS Applescript called Render Notification might be for you.
This free tool comes from editor Josh Petok. I just learned about it today when Josh sent out a tweet saying that it had been updated to version 1.0.2. I haven’t used it yet (though I plan to grab it very soon) but it looks like you launch the app after you begin a render and it will then email or text you when rendering in that application has finished. Currently it works with Avid Media Composer, Final Cut Pro, Color, Compressor and Redcine-X (which was added in v.1.0.1).
I don’t use Applescript much myself but I do know that it can be set up to do some cool things. What’s nice about it is that it’s relatively easy to use for those that understand it, at least compared to a programming language. I also know that I don’t understand it so it’s great when editors like Josh share a tool that they’ve built for their own needs. It may not be the perfect app, as this blog post points out, but from the few things I’ve read and the comments I’ve seen it’s getting the job done for many. Best of all, it’s free so if this newest version doesn’t work for you then delete it and move on.
This version of FxFactory requires Mac OS X 10.5.8 Leopard or Mac OS X 10.6.3 Snow Leopard.
FxFactory plug-ins run inside Final Cut Pro versions 6 and 7, Motion versions 3 and 4, Final Cut Express 4,
Adobe® After Effects® versions 8, 9 and 10 (CS3, CS4 and CS5).
FxFactory Pro 2.5.1
FxFactory Pro 2.5.1 adds a new “Camera Shake” plug-in under the “FxFactory Pro Distort” category. The new version is a free update for current FxFactory Pro users. “Camera Shake” simulates motion artifacts caused by sudden camera moves, and requires Mac OS X 10.6.3 Snow Leopard to run. Watch Now
PHYX Freebies 1.0
PHYX Freebies is a new set of free plug-ins by the image processing experts at PHYX, Inc. The free plug-ins are available as a separate download for all FxFactory users. Watch Now | Download
SUGARfx Lens Pack 1.0
Lens Pack is a new collection of lens distortions, damage simulations and 3D effects by SUGARfx. The trial, unlockable version of Lens Pack 1.0 is available as a separate download for all FxFactory users.
• YanoboxMotype 1.2.2 and Nodes 1.1.1 are free updates for current customers that fix bugs found in previous versions.
• Beginning with this version, FxFactory will no longer display a loading screen when its plug-ins are being loaded inside a supported plug-in host. The loading screen can still be enabled via a preference available in the FxFactory application.