The Color Corrector 3 Way is a great way to reset your white levels on a clip that was shot with poor white balance. You will find the Color Corrector 3 Way filter in Video Filters, in the Color Correction category. After applying the filter to a clip, and loading the clip into the viewer, you will open the Color Corrector 3 Way tab. To repair a bad white balance all you need to do is click the Select Auto-balance Color button. This will turn your cursor into an eye dropper when over top of the Canvas. All you need to do now is click on a portion of the clip in the Canvas that should be a perfect white. This will rebalance the white values within the clip. This can be a very quick and easy way to make a big improvement to a clip that was shot with a bad white balance.
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Cinema Tools is an interesting and often misunderstood utility that has been shipping with Apple Final Cut Studio since 2004. Many editors are not even sure of what Cinema Tools function is. The application is a database application that tracks the relationship between film frames and their corresponding video frames. Included with Final Cut Studio, Cinema Tools assists in editing a film or 24p digital intermediate project just as you would edit any video or multimedia originated project. Few Final Cut Pro editors are aware of or understand exactly how Cinema Tools works and what it is intended for…
Apple Motion has an oscillating behavior that can bring life to a painted object.
Chapter: Compositing Tools and Techniques
Tutor Harry Frank looks at “aux” particles in Particular 2, explaining how they’re related to regular particles and showing how they can be precisely controlled to create subtle and unusual effects. This tutorial is excerpted from Class on Demand’s brand-new DVD, Complete Training for Trapcode Particular 2.
Chapter: Visual and Creative Effects
The first edition of this 2-part video tutorial has Eran Stern delving into the mind of a woman. Join him as he creates a tunnel vision effect by applying a few After Effects tricks such as time remapping, motion blur, blending, and color correction to footage from artbeats.com. This cool technique can be used on it’s own or in conjunction with Part 2 (coming soon).
I was asked if it was possible to get the Glow Effect without Boris Continuum Complete. Had I been a smart-ass, I would have replied: “Sure, buy Sapphire!”
But I’m trying not to be, so I came up with something that looks kinda similar, and I called it Film Flash, because “Glow Part 2″ seemed lame.
In this tutorial, I’ll use a Blur and the Color Effect to create that Film Flash.
Iain Anderson demonstrates a wide range of video wall effects inside Final Cut Pro, including transitions, three dimensional stylised effects and slideshow transitions. All of these can be created in seconds on video or still images with fine control over placement and randomization of the various layers. Save yourself hours and hours of time over placing and animating layers by hand using these techniques. Iain also shows animating parameters to audio by sending a shot to motion, and some combinations that can create some unique looks.
I’ve now had an iPad for a few weeks, so I’ve had a chance to play a variety of videos back on it. It truly is a pleasure to watch video on and I could see that being especially popular on long road trips with the kids (or as I’ll likely use it, watching movies in bed).
I’ve seen some guidelines for encoding for the iPad already (most recently from Ken Stone’s site), but I wanted to tackle the problem myself to see what settings I felt worked best.
Last time out, we discussed shooting for multicam editing, and syncing your clips for multicam editing in Apple Final Cut Pro. This time out, I’ll detail how to work with clips in the Viewer, how to switch camera angles, how to optimize playback in the Timeline, and other production details.