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Twixtor and ReelSmart Motion Blur released for Intel-native Final Cut Pro 5.1

RE:Vision Effects is now shipping universal binary plug-ins of Twixtor and ReelSmart Motion Blur for Apple Final Cut Pro that support both PPC- and Intel-based Macintoshes. Twixtor is the sophisticated slow-mo and speed-up solution, and ReelSmart Motion Blur adds and removes motion blur based on per-pixel calculated motion.

RE:Vision Effects’ plans to update its other plugins for Intel compatibility in the coming months

Twixtor version 4.5.8 for Final Cut Pro comes in two versions:

  • After Effects-compatible Plug-in, Regular version US$329.99;
  • After Effects-compatible Plug-in, Pro version US$595.00.

ReelSmart Motion Blur version 3.2.3 for FCP:

  • After Effects-compatible Plug-in, Regular version US$89.95;
  • After Effects-compatible Plug-in, Pro version US$149.95.

Advanced Plugins for Final Touch V1.5

Graeme Nattress’ Advanced Plugins for Final Touch 1.5 are a suite of plug-ins that enhance the capabilities of Silicon Color’s FinalTouch SD, Finaltouch HD and FinalTouch 2k.

New in V1.5 is G Smart Denoise, a powerful noise reduction tool using an adaptive edge dependent averaging function so that the noise or grain gets removed without blurring edges. By adjusting the settings, G Smart Denoise can also function as a sharpening tool that only enhances edges, not noise. This plug-in, like the others in Advanced Plugins for Final Touch , have been written to take advantage of FinalTouch’s real time, GPU based ColorFX architecture.

V1.5 is a free upgrade for existing users and includes the other plug-ins of Version 1. The Advanced Plug-ins for FinalTouch include:

  • G 2 Strip
  • G 3 Strip
  • G Bleach Bypass
  • G Bleach Bypass Sharp
  • G Blend
  • G Chroma Offset
  • G Chroma Sharpen
  • G Chroma Smooth 4:1:1
  • G Chroma Smooth 4:2:0
  • G Chroma Smooth 4:2:2
  • G Detail Contrast
  • G Percentage Median
  • G RGB to YCbCr
  • G YCbCr to RGB
  • G Smart De-interlace
  • G S-Curve
  • G S-Curve Luma
  • G S-Curve RGB.

Full descriptions of each plug-in is available on Graeme’s website.

The full package costs US$495 and is available now. There is a demo version available from the product page. The demo will render with a watermark until purchased, except G Blend. G Blend is free without watermark, and features practically every blending mode you’d ever want to use.

Boris outlines road map for M100 and Intel Macs

Media 100, a division of BorisFX have announced that version 11 of their software will use OEM hardware solutions from AJA. Chances are very good these cards have very similar features to AJA’s other Mac OS X offering – the Kona card. The new product line includes Media 100 HD Suite, Media 100 HDe and Media 100 SDe and the hardware will bring 10-bit uncompressed HD and SD editing and broadcast-quality format conversion to the Media 100 software.

The move to a new hardware supplier will be good for the future of Media 100. It does spell the end of the last ties with the corporate shell that housed the remnants of the old Media 100, Inc. Until Version 11, hardware was still supplied by the previous owners of the software Media 100 users with systems that use the HDx Technology will still be able to take advantage of software-only upgrades.

The flagship product, Media 100 HD Suite is a new SD and HD nonlinear editor that includes integrated 3D compositing, titling and effects – or translated from markets peak, Boris are going to bundle RED with Media 100.

Media 100 HD Suite not only bridges the HD/SD gap, but also serves as the hub for digital post. Media 100 HD Suite provides full 2D and 3D compositing and the industry’s most advanced 2D and 3D titling, without the aggravation of importing and exporting. You can conform SD to HD or HD to SD during capture or output.

Media 100 HDe is a powerful SD and HD nonlinear editing solution that allows users to mix multiple input and output sources, handle multiple file formats and deliver multiple versions. Mix legacy Media 100 content with multiple QuickTime codecs and native DV content- in the same timeline, in real-time, without importing or re-rendering. Down convert your HD to SD during capture or output and monitor HD down converts to 4:3 while you edit. Built on the familiar Media 100 user interface, Media 100 HDe also offers features like a multi-track timeline, advanced keying and a motion alpha channel that is real-time in SD and accelerated in HD.

The Media 100 SDe solution lets editors, event videographers, and corporate video producers edit productively now, without closing the door on future expansion into HD. The flexible user interface is appropriate for any level of user experience. This system is easily upgradeable and features a modular design so users can add features as needs develop. Media 100 i users can easily bring their existing projects and media to the Media 100 SDe system.

There is also a software-only version of Media 100 that has video input and output hardware but can export to a QuickTime file.

The new Media 100 product line is expected to be available through the Boris FX worldwide reseller channel or direct through Boris FX in Q2 2006. Media 100’s new NLE systems start at US$2499. Media 100 sw, a software-based companion to existing Media 100 systems, built on the familiar Media 100 interface is also available starting at US$395.

Boris will be showing the new Media 100 product line at NAB in Booth SL2596, where they’ll show the newly released Boris Blue, Final Effects Complete, Boris Continuum Complete and the upcoming RED 4, or catch it all at the Boris User Group Sunday, April 23, at 2:00 pm at the Las Vegas Hilton, 3000 Paradise Rd. in the Ballrooms D-E.

Boris and Intel

Boris also announced that they are actively working to release their full product line on Intel Macs, starting with Boris Calligraphy – a set of four Generators. The Intel-Mac version of Calligraphy is bundled with Final Cut Studio for Intel Macs (Final Cut Pro 5.1).

At NAB Boris will show Boris Continuum Complete filter package integrated with the latest release of Apple’s Final Cut Pro ( 5.1), running on the Intel-based Macintosh. Boris Continuum for Intel-based Macintosh will be released later this year.

Next to support the new architecture will be Boris Red version 4.0. Designed specifically for editors, Red integrates with more than 20 supported NLEs, including Apple Final Cut Pro, Adobe Premiere Pro, and Avid systems. Boris Red version 4.0 is expected to ship in Q3 2006.This release will be quickly followed by Intel-compliant versions of Boris FX and Graffiti.

MOTU ships Digital Performer 5

MOTU’s flagship Digital Performer 5 is an integrated MIDI and audio sequencer. Version 5 now shipping with a whole raft of new features:

  • Six new instrument plug-ins;
  • Track folders;
  • Meter Bridge™;
  • Four new editing tools;
  • Film/Video Scoring Enhancements;
  • Streamers, flutters & punches;
  • Enhanced click and count-off;
  • Enhanced input monitoring;
  • Soundbite Volume & Gain;
  • MIDI Keys; and the ubiquitous
  • "Productivity Enhancements".

Digital Performer is position as being for song writing, studio production, film scoring, live performance, remixing, post production and surround mixing.

The six new virtual instruments are BassLine (a one oscillator, two-waveform monophonic bass synth); PolySynth (a polyphonic synth that harkens back to the classic Roland Juno 106); Modulo (provides endless possibilities for analog synth sounds); NanoSampler (load a sample and play it; add filter, LFO and/or envelope); Model 12 (a twelve-part drum module); and Proton (a two-operator frequency modulation (FM) synthesizer).

This release is not a Universal Binary (for Intel Macs) but MOTU has said that an Intel-compatible version of Digital Performer will be available in Q2, 2006.

Digital Anarchy Releases ReSizer 2.0

ReSizer 2.0 has been released by Digital Anarchy. ReSizer 2.0 is a plug-in for resizing footage or up-converting Standard Definition to High Definition in After Effects, Final Cut Pro and Premiere Pro. The ReSizer algorithms intelligently scale footage and images, giving designers and filmmakers the power to produce high-quality SD to HD up-conversions while staying on time and within budget.

Three alogrithms are included for scaling and users have control over how much these algorithms sharpen or smooth the footage. With ReSizer 2.0 footage can be scaled up to 800% larger because of the multiple methods available to accurately increase the resolution of the original image. This difference is particularly noticeable in ReSizer’s ability to keep edges sharp and defined, with minimal aliasing (or ‘stair-stepping’) that is usually found in up-converted footage.

New features for ReSizer 2.0 include:

  • ReSizer 2.0 makes it easy to scale SD to HD, web video/podcasts to SD, or any resolution up to 800%;
  • Improved Algorithms with the best algorithms from ReSizer 1.0 taken and improved;
  • The built-in Deinterlacer uses time estimation to analyze multiple frames and produce a detailed progressive frame from the interlaced footage;
  • Many common HD and film resolutions are included via a Preset Manager to make it easier to incorporate the plug-in in a busy workflow.
  • Users can now specify the exact dimensions they want the footage to be, instead of fiddling with percentage sliders; and
  • Improved Fine-tuning Controls that make it easier to customize ReSizer for specific footage.

ReSizer 2.0 is regularly priced at US$149 but will be available for US$129 until May 10, 2006. Current ReSizer 1.0 customers can upgrade to version 2.0 for the regular price US$99 or for US$79 up to May 10.

ReSizer works in After Effects 5.0 and higher, Final Cut Pro 4.0 and higher, and Premiere Pro 2.0. The plug-in runs on all variants of Macintosh OS X and Windows 98ME & XP Pro. Demo filters and samples are available at the Digital Anarchy website.

Synthetic Aperture ships Color Finesse 2.1 and Colorociter

With version 2.1 of Color Finesse, the long-promised stand-alone application with the Colorociter CS-1 Hardware control surface is now available. Color Finesse 2.1 is also available as a plug-in for Adobe After Effects and Premiere Pro and Apple’s Final Cut Pro.

New features in the plug-in version of Color Finesse, include an additional simplified interface which is directly accessible in the host application, without the need to switch to the full Color Finesse, in addition to the full interface assessable as in the past for more advanced color correction tasks. The 2.1 update is also significantly faster.

Other new features include the scrubbing of clips within the Color Finesse interface, realtime preview playback, import and export of color correction settings via the ASC CDL (American Society of Cinematographers Color Decision List), the ability to store up to eight QuickGrades™ which can be recalled with a single keystroke, and over 500 color presets, including film looks and emulation of lighting gels from Rosco, Lee, and GamColor. Users can also create and save their own presets.

Color Finesse 2.1 also adds direct support for video previewing without the need for additional software. Preview hardware support includes FireWire/DV and boards from AJA and Blackmagic Design. To ensure accuracy, all previews can use LUTs created within Color Finesse or imported from Photoshop-, Discreet-, or Quantel-format files.

The Color Finesse 2.1 plug-ins are currently shipping for Macintosh and Windows. List price for Color Finesse 2.1 PI is US$595. Registered users of Color Finesse 1.x may upgrade to Color Finesse 2.1 for $169. A special $169 upgrade to Color Finesse 2.1 LE is also available to those who received the limited edition of Color Finesse bundled with Adobe After Effects 6.5 and 7.0. All orders for electronic delivery receive a US$20 discount.

Color Finesse 2.1 HD+

Color Finesse 2.1 HD+ is the standalone version of the Color Finesse color corrector. As a stand-alone application Color Finesse is not limited by the host application support. Color Finesse 2.1 HD+ manages color correction projects on its own, with its own timeline rather than relying on the host application’s. Still images, QuickTime movies, and image sequences can all be loaded onto the timeline for correction. Supported image formats include JPEG, TIFF, Targa, Cineon, and DPX. Clips can be grouped into scenes so that they can be corrected all at once, and individual frames can be assigned markers for rapid navigation.

However most users will not want to start a project from scratch in Color Finesse, preferring to take an existing edit into the application for color correction. . Color Finesse accepts Final Cut Pro-generated XML files which it can read in as a project onto the Color Finesse timeline. Once the color correction is complete, the project, now with corrected footage, can be exported to a new XML file and re-imported into Final Cut Pro for any final rendering. Other applications may be supported if their format can be converted to Final Cut Pro XML, using tools from Automatic Duck for example.

Color Finesse 2.1 HD+ shares the basic features with the plug-in version except Color Finesse 2.1 HD+ is resolution-independent, handling SD to HD to Film resolution projects. For those whose needs are more modest, Color Finesse 2.1 SD, which is restricted to NTSC/PAL resolutions, is also available.

Color Finesse works entirely in floating-point, allowing proper handling of overbright image areas, avoiding unsightly clipping problems. Color Finesse does not require a specific video card, allowing it to run on every type of system, from laptops to multi-processor workstations.

Color Finesse 2.1 HD+ is fully compatible with the just-announced Colorociter CS-1 Colorist’s Workstation.

As a standalone application Color Finesse 2.1 HD+ is currently shipping for Macintosh with the Windows version scheduled for release in Summer 2006. List price for Color Finesse 2.1 HD+ is US$1995. Color Finesse 2.1 SD is also available for US$995. Upgrade pricing is also available for those who previously purchased the plug-in version of Color Finesse.

Colorociter™ CS-1 Tactile Control Surface Color Finesse

THE Colorociter CS-1 Colorist’s Workstation, is a hardware control surface providing a tactile interface to the company’s Color Finesse software, using the familiar trackball interface. There are four backlit trackball controls with surrounding free-spinning ring controls. Having four trackballs maps perfectly to Color Finesse’s division of controls into master, shadow, midtone, and highlight groups.

As well, there are twelve high-resolution encoders for adjusting color correction parameters and two 24-character by 2-line user-configurable alphanumeric displays to provide labeling for the encoders. There are also seven page selection buttons to choose which user-definable control layout is in use, plus a parameter reset button, as well as fourteen user-configurable buttons.

The assignment of physical controls to software color correction controls is entirely user configurable. Up to seven configurations can be stored and recalled with the push of a button.

The Colorociter CS-1 is compatible with both the Color Finesse 2.1 plug-ins and the Color Finesse 2.1 SD/HD+ standalone application. The Colorociter CS-1 connects to the host computer via USB. It is currently shipping for use with Macintosh versions with Windows compatibility schedule to ship in Summer 2006. List price for the Colorociter CS-1 is US$3950. Discounted bundles with Color Finesse are also available.

The Colorociter, Color Finesse 2.1 Plug-in and Color Finesse 2.1 HD+ will be demonstrated at NAB 2006 in Synthetic Aperture’s booth, SL5138G. Bob Currier, President and Founder of Synthetic Aperture will be interviewed on Creative Planet’s Digital Production BuZZ during the Monday afternoon Live-from-NAB show at 3:00pm US Pacific time.

Rorke Signs National Distribution Agreement with Avid Technology

Hot on the heels of Avid’s purchase of Medeá back in January, they have now signed up Rorke Data, a subsidiary of San Jose-based Bell Microproducts, Inc, for an national distribution agreement. Rorke will supply Avid specific solutions to the distribution channel based on three platforms: HP, Apple and Rorke Data’s own XF11 Intel-based desktop editing solution.

Rorke will be supplying Avid resellers from their multiple warehouse and integration facilities located throughout the continental United States.

From a logistical perspective, Rorke Data’s multiple warehouse and integration facilities located throughout the continental United States, enable Rorke to respond quickly to reseller requirements. This unified approach gives resellers the ability to buy using one partner SKU, have their choice of platform for their customer whether that’s HP, Apple or an Avid approved whitebox solution such as the Rorke XF11 system, while ensuring the same level of service and support regardless of the platform.

Rorke Data will be represented at NAB April 24-27, 2006, on both the Avid Partner Pavilion, booth Q, and Rorke Data’s own Booth SU236.

Focus Enhancements Ships New FireStore FS-100 DTE Recorder

Focus Enhancements have released the much anticipated FireStore FS-100 portable Direct-to-Edit (DTE) record designed specifically for Panasonic’s HVX200 P2 handheld camera. While the FS-100 is optimized for the HVX200 P2 camcorder, it can be used with any Panasonic DV, DVCPRO, DVCPRO 50 or DVCPRO HD equipment featuring an IEEE-1394 (FireWire) interface.

The FS-100 records DVCPRO, DVCPRO 50 or DVCPRO HD in the native MXF format, or DV/DVCPRO in any of 10 native NLE formats. The MXF format is natively supported on Avid systems and can be imported to Final Cut Pro using an import conversion add-on for Final Cut Pro.

The FS-100 adds 100 minutes of record time to the HVX-200 and users can view the status of the FS-100 in the viewfinder of the HVX200.

As reported earlier, the FS-100 will compete with Specialized Communications Corporation’s CinePorter CP-2, a hard-drive-based P2-compatible option for recording media from Panasonic P2 camcorders. The CinePorter CP-2 connects to the camcorder via one of the P2 interfaces, leaving one P2 media slots free, instead of the FireWire interface used by the FireStore FS-100.

The FireStore FS-100 is available now through the Panasonic worldwide dealer and distributor network for an estimated MSRP of US$2,195. There is also a FireStore DR-HD100 DTE Recorder for JVC’s GY-H100U HDV camcorder.

Adobe Flash: Creating Timers in Flash: Part 2 – Two more ways to skin the same cat

Chapter: Distribution

Topic: Interactive

Timing stuff in Flash isn’t exactly the glitziest of tasks, but sometimes it just has to be done. In our last installment, we went over two relatively basic methods for creating timers, each with varying degrees of simplicity and/or accuracy. Today we’re going for as much accuracy as we can, and we’re going in two completely opposite directions. Intriguing? I thought so. I am, after all, the master of suspense, so let’s get down to business, shall we?

http://www.macanimationpro.com/articles/viewarticle.jsp?id=39557

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Adobe After Effects: Grass is Always Greener: The solution ? After Effects

Chapter: Color Correction

Topic: Secondary Color Correction

Oh the joys of lawn care. No matter how you cut, fertilize, aerate, and more, your neighbor?s grass is always greener. Extract revenge with After Effects and some color correction.

http://www.creativemac.com/articles/viewarticle.jsp?id=39548

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