"Definitely going to become the weapon of choice for all the editors I know."ġ2:50pm - "Thank you. All these effects / look presets are easily exportable and emailed between editors. Easily dragging the colors and changing whole portions of eyedropped video with keys and vignettes.ġ2:48pm - Supports custom shapes for colorization effects, not just circular and square. Selects a 3D cage around the colorized pixels. "It's like a lamp post, the lights at the top and the shadows at the bottom - with a ring of color. #d scope, all the pixels representation of pixels in a frame. Auto-balance tool for contrast, color, etc., and makes automated colorization adjustments. Bring all four of these things together and get what you want: a signature look."ġ2:32pm - Demo from David Gross, FOX Australia.ġ2:40pm - Showing gradients and multiple secondaries. Color effects - string them together with a node tree. Mattes from chroma, luma, saturation, custom vignettes, hue and saturation curves. Same UI for 3-way color correction with RGB and luma curves, lift, gamma, gain, visualization of color in 3D space. It seems calculated to appeal to us, we make movies from beginning to end."ġ2:31pm - "It's designed to be a natural extention of FCP. dynamic filters with timecode overlays, animated motion watermarks.ġ2:30pm - "Color is revolutionary and helpful.
Keynote live presentation pro#
It's industrial strength." It now features simplified cluster setup, extended to MPEG-2, H.264, Telestream Episode Pro plug-in with VC-1, WMV, FLV. It's now a major marquee member of the Final Pro suite. "Now I'm going to turn my attention to Compressor 3. Showed final clip, audio sounds really amazing, and the whole 30 second preview was just created in a few minutes.
Demoing Conform feature - new edits with cut (or added clips) that would otherwise take hours with a bunch of sound effects and bites can now be pushed through rapidly with grouped approvals of intelligently re-synced edits.ġ2:14pm - All six channels are included in one clip, so you don't have to deal with multiple tracks when working with 5.1. Demoing sound effects, syncing sound effect with a video HUD, quickly synced a royalty-free sound effect in under 10 seconds. Just grabbed four soundtrack takes and instantly composited them. It's all integrated." Paul Saccone on stage now demoing.ġ2:07pm - Take editor - making a comp, select which portion of which take to use.
Keynote live presentation update#
Now we also have editable Motion templates, access Motion templates without leaving FCP, update all instances without having to use Motion. Mixed formats, resolutions, framerates."ġ1:32am - "We took some of the great technology in Shake and brought SmoothCam down to Final Cut Pro, removes camera shaking. We think this format is coming out of the gate really strong. I think it's going to be another Apple earthquake that shakes things up in the post-production industry."ġ1:31am - It will be introduced at $3495 - "About a fifth of the cost of competing system. It's really made possible by Final Cut Pro, ProRes, and the IO-HD. It's really a new paradigm in post-production.
"We turned to our friends at AJA." It's called the IO-HD.ġ1:30am - Video: "You can edit HD on location on your MBP - it's everything in and out from ProRes. You will be able to work with this whole new breed of moviemaking."ġ1:27am - "Clearly it's going to be an interesting show this year." You need something with a bunch of ports in the back, you need a handle, and you need a whole bunch of linking lights on the front. " Showing a RED 4k demo.ġ1:26am - "You can take 4k files, plug it directly into a MacBook Pro, and see and edit them right there. 11:25am - "Not only are we working with the leaders, we're working with.
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