Add a nostalgic look to your next movie using Nostalgia Suite ($49). Choose from 10 vintage color presets or even create one of your own. Add a natural, organic lens flare to your footage with the included Flare Builder, a powerful light flare tool. Choose from 13 different real light flares. Control the opacity and color of the flares to give it a strong or subtle look. Nostalgia also comes with a choice of 4 different slide effects and a slide sound effect.
With Screen Stitch ($49), you can choose from 36 different split screen effects right from the convenience of your generators browser in Final Cut Pro X. Vertical split, horizontal split, diagonal…two clips, three clips or more, change background color, scale images…
booru WebCam 2.0 will assist you in capturing images from your web camera, publishing them on your homepage, archiving them on your harddrive or storing them on the Internet. The program makes it easy to apply effects such as picture and text overlays to the camera image. The main purpose of booru Webcam is to increase the fun factor and usefulness of webcams!
Party Cam: Use your web camera as a party cam, documenting the party to your local hard drive. You can later on look through the archive to find all the highlights from yesterday8217;s party. Or why not share your fun with others on the Internet?
Surveillance: Use your web camera as a simple surveillance camera, documenting the things happening in its view.
Share in Style: Publish images on the Internet with dynamic text and custom made overlay images.
Free: The program can be freely downloaded below for private, non-commercial use. No nagging, no trial period. See the online manual for installation instructions.
This is an old post from Larry Jordan, FCP instructor
NOTE: This process changed since this was posted. See the update at the bottom. When working with PAL just use DV PAL settings in place of NTSC
Tom Porett, from the University of the Arts in Philadelphia, writes:
I enjoy your newsletter greatly – thanks very much.
I have a question about converting a 16:9 format to 4:3 in letterbox format (with bars). If there is an issue of the newsletter that has that info I’d appreciate it.
I am uploading work to Google video and they require 4:3 format only.
Larry replies: Yup, it can be done. In fact, I had a client this morning that needed to convert a DVCPro-50 16:9 sequence into a DV 4:3 video. Here’s how to do it.
1) Open the sequence you want to convert into the Timeline.
2) Choose File > Export > Quicktime movie.
3) In the Save As dialog, change Current Settings to “DV NTSC 48K” — if you are working with PAL video, you would select “DV PAL 48K”. Then, make sure that Make movie self-contained. is CHECKED.
4) The movie will export — and will take a while to do so, depending upon the length of the sequence you are exporting. Use this to rediscover the outdoors and sunshine. Look out a window, or something.
5) When the export is complete, change your Easy Setup to “DV NTSC” (or “DV PAL” depending upon where in the world you live).
6) Create a new project and import your newly exported QuickTime movie. Then, edit it to the Timeline.
Ta-DAH! Your 16:9 image format is retained, but Final Cut has now added black letter-boxing at the top and bottom of the image. You are now ready to output as a standard DV file.
The best part about this process is that no additional rendering is necessary; your file is ready to output as soon as you get it edited into a new sequence.
Fast and easy.
UPDATE – Jan. 2008
As Oren Hercz pointed out:
I just wanted to mention a minor problem I discovered with your “converting a 16:9 sequence to 4:3 video” article. I was following your instructions, using FCP 5.1.2, but when I exported my anamorphic sequence as “DV NTSC 48k” and then imported it into a NTSC DV timeline, I got a stretched image inside black bars (yuck!) I discovered that I had to export using “DV NTSC 48k anamorphic” setting to make it work. I don’t know if this is a change in FCP since you wrote that article, but I thought you might want to know.
Larry replies: You are correct. Apple has now made anamorphic video a specific menu choice in the application. If you are working with 16:9, then please select “anamorphic.”
Working with digital video is part of many artistic disciplines. Besides single screen narratives, video productions can range from animation, multiple screen installation to interactive work. Still, many aspects of digital video can be traced back to the history of film. The interface of a timeline editing software such as Cinelerra shows a multitrack timeline, a viewing monitor, a bin for clips; echoing the setup of a flatbed table for editing celluloid.
Dual/Single-Link DVI Video Wall Controller/Splitter
Stand-alone unit with up to 4K x 4K input source
Inputs: DVI/HDMI, Outputs: 4x DVI-D or VGA
The EMS Xtreme4vs is a stand alone display wall controller that accepts a single-link 1920215;1080(DVI-D or HDMI) or dual-link DVI input up to 4K x 4K and can flexibly display this across four output monitors.
Each output can be driven as DVI or analog RGB and can represent an arbitrary crop region of the original input image. The output resolution and frame rate does not need to be related to that of the input as the Xtreme4vs will optionally upscale and frame rate convert each cropped region independently. Additionally, each output can be independently mirrored or rotated through 90°, 180° or 270° to support creative mixes of landscape and portrait monitors.
Supports full bezel width and height correction for all types of displays.
Ideal for use with edge blending projectors 8211; supports image overlapping.
Splits a single DVI input into four independent monitor outputs.
Accepts Dual Link DVI, Single Link DVI or HDMI* input. (*HDMI input requires the optional DVI/HDMI Adapter.)
The input EDID is programmable to allow arbitrary input resolutions and frame rates.
Flexibly drives four displays, each from any selected region of the input image.
Supports both DVI and analog RGB output monitors.
Stand alone operation supports auto-detecting of input resolution and output monitor native resolutions. Output screen configuration is defined by internal non-volatile memory.
Output configuration is programmable via a USB connection to a PC. Graphical utility allows easy control of cropping, scaling, rotation and gaps.
Multiple units can be used for larger wall configurations.
Supports creative monitor arrangements
Each output monitor can take its input from any region of the input DVI image, since all the required cropping, scaling, rotation and frame-rate conversion is handled by the Xtreme4vs hardware. These regions can overlap to allow any output to replicate another, or they can be configured to support any creative splice of the source material. This allows the support of many non-rectangular screen arrangements with uneven gaps, and any mix of monitor orientations.
Crop the input signal into x4 and display x2 quarters landscape
and x2 quarters portrait.
Crop the input signal x4 rotate through 90º,180º or 270º, display in landscape and portrait.
Crop the input signal 1920215;180 and display in landscape on to individual screens at 1280215;1024 each.
Display the complete input on the 1st screen in landscape mode and then crop the input into three segments, rotate and display onto 3 screens in portrait mode.
Dual-Link DVI input supports high resolutions
Dual-Link DVI input will support high resolution pixel-perfect source images for display. The EMS Xtreme4vs can additionally present a default native resolution to the source to allow still higher custom resolutions at reduced frame rate, but still remain within the capabilities of the Dual-Link interface. Most standard graphics card sources will output at this native resolution. Since the Xtreme4vs will scale and frame-rate convert, using a triple-buffered capture architecture, the output monitors can still be driven at their preferred frame rates and resolutions.
The Xtreme4vs supports simple editing of custom input and output configurations via a USB connection to a PC. Once configured, the Xtreme4vs will run stand-alone, without the need for the USB connection, and will auto detect input resolutions and adjust internal scaling appropriately to drive the output monitors in a consistent manner.
The Xtreme4vs will auto-sense input and output framerates and automatically genlock when possible. Four identical monitors will automatically be driven genlocked and if the input timings match they are additionally genlocked and clock-locked to the source signal.
Other possible screen configurations:-
235 x175 x 44mm / 9.258243; x 6.98243; x 1.758243;
Operating Temperature Range
0 8211; 35 DegC / 32 8211; 96 DegF
5V DC, 11W. Universal mains power adapter supplied (100-240V).
Cooling by internal fan. The input/output vents should not be restricted.
1x Dual link DVI capture
4k x 4k maximum
4x Single link DVI or analog RGB outputs
Output Screens Resolutions
Up to 2.5Mpixel (maximum 2048 pixels in either direction
Arbitrary Up Scaling
64x original surface area
Supports configuration and updates via USB port (USB 2.0)
ccMixter Music Discovery: Based on the ccMixter community site of CC-licensed remixes, samples, and songs, this resource has instrumental music, playlists, podcast music, and more than 1,000 free tracks that can be used in commercial projects.
Netlables at the Internet Archive: This section of the phenomenal Internet Archive hosts music from small netlabels, many of whom put their entire catalogs under Creative Commons license. From exotica to indie rock to deep house, there are neatly 2,000 8220;sub-collections8221; of music with hundreds of tracks each. (And if you8217;re looking for true public domain music, the Internet Archive8217;s massive Audio Archive is where you want to go.)
Free Music Archive: Directed by the incredibly eclectic WFMU radio station, the Free Music Archive is a well-curated collection of MP3s pre-cleared for certain uses. The creators contributing to the FMA 8220;feel that allowing a degree of free cultural access is beneficial not only to their own pursuits, but to our society as a whole.8221;
Final Cut Pro Killer Secrets is a collection of tips, techniques and reference material that I’ve learnt, discovered or stumbled upon since 2003. The book is written primarily for Final Cut Pro 6 but virtually all the tips will work in earlier versions. Whether you’ve been working with Final Cut Pro for five months or five years.
Dyn’s legendary free DNS service allows you to create a hostname that points to your home or office IP address, providing a easy URL for you to remember anywhere you have internet access.
Dyn also provides update mechanisms for making hostnames work with your dynamic IP address, delivery of your DNS records to five DNS servers in five Tier 1 bandwidth datacenters around the world, fast propagation/reliable static IP caching for DNS TTL values and more.
Noble Desktop has been teaching courses in web development and digital publishing since 1991. They offer comprehensive day and evening classes and certificate programs in web design, web development, digital publishing, print design and photo retouching.
The RayV Grid is the worlds first telco grade HDTV Delivery Network over IP. Designed specifically to serve the world8217;s most sophisticated content providers, we stream for telcos and networks tens of millions of hours of HDTV every month to millions of viewers in over 150 countries. RayV is the most robust, scalable and secure network for delivering high quality video on the web.
Sunday at the Mozilla Festival in London, Mozilla launched the 1.0 version of their new Popcorn Maker tool, a free web app that makes video pop with interactivity, context and the magic of the web. Popcorn Maker makes it easy to enhance, remix and share web video.
Using Popcorn Maker’s simple drag and drop interface, you can add live content to any video — photos, maps, links, social media feeds and more. All right from your browser. The result is a new way to tell stories on the web, with videos that are rich with context, full of links, and unique each time you watch them.
“Until now, video on the web has been stuck inside a little black box,” says Mozilla’s Director of Popcorn, Brett Gaylor. “Popcorn Maker changes that, making video work like the rest of the web: hackable, linkable, remixable, and connected to the world around it.”
Vikuiti Rear Projection Film uses the same micro bead technology as in 3M8217;s rigid screens but with a flexible, self-adhesive film that can be applied to windows or transparent partitions. It’s easy to cut to shape and size, is fast and easy to remove, and can be integrated with other window graphics.
Syphon is an open source Mac OS X technology that allows applications to share frames 8211; full frame rate video or stills 8211; with one another in realtime. Now you can leverage the expressive power of a plethora of tools to mix, mash, edit, sample, texture-map, synthesize, and present your imagery using the best tool for each part of the job. Syphon gives you flexibility to break out of single-app solutions and mix creative applications to suit your needs.
Syphon provides an ecosystem for sharing imagery between applications and new media development environments. Syphon is designed to be efficient and will not duplicate resources unnecessarily, keeping your frame rate and best interests in mind.
Hardware acceleration on the GPU 8211; Servers and Clients share video on the graphics card 8211; where it belongs, allowing for HD or larger video at 60 FPS
Alpha-channels 8211; share rendered 3D content and video with masks and keys, allowing compositing to happen easily and naturally.
Out-of-the-box support for Quartz Composer, FreeFrame GL, Max MSP Jitter and Unity Pro
A simple SDK so developers can add Syphon to just about any application
The RGBDToolkit invites you to imagine the future of filmmaking.
Repurposing the depth sensing camera from the Microsoft Kinect or Asus Xtion Pro as an accessory to your HD DSLR camera, the open source hardware and software captures and visualizes the world as mesmerizing wireframe forms. A CGI and video hybrid, the data can be rephotographed from any angle in post.
Create dazzling multi-screen presentations with ArraySync, the network QuickTime synchronizer from The National Software Laboratory. Play QuickTime content across multiple displays attached to one computer or over a local area network as if it were coming from a single video source. ArraySync is the ideal solution for event designers, trade shows, exhibitions and conferences.
ArraySync is completely scalable, and can run entirely on hardware you already own. Synchronize two displays or a hundred! ArraySync8217;s performance is limited only by the capabilities of your hardware.
Effortlessly create video arrays without specialized hardware.
ArraySync makes it easy to build a multi-screen video presentation. Use ArrayShaker to break up your media into multiple segments and distribute them to ArraySync Clients powering your displays. Mac users also have the option to span videos directly without preprocessing with ArrayShaker.*
Flexibility to match your creativity.
Because ArraySync is completely software-based, the configuration possibilities are endless. Rather than relying on infleixble hardware-based systems, you8217;re free to design the ultimate display setup using varying sizes and placements of screens. Enjoy the flexibility to express your ideas through unique custom displays unhindered by dedicated hardware.
Sync Macs and PCs.
Whether you have Macs, PCs or both, ArraySync plays nice with all your hardware. Use a Mac as a server controlling PC clients, or a PC server controlling Mac clients, or mix and match Macs and PCs in any combination you can imagine. ArraySync8217;s underlying protocol is platform independent.
Maybe you got a new TV for Christmas. Or maybe you just got one recently. Maybe you are thinking of buying one. Whichever is the case, take heed: your TV will try very, very hard to make whatever movies you watch on it look not just bad, but aggressively, satanically, puppy-drowningly bad.
TVs are designed to do one thing above all: sell. To do so, they must fight for attention on brightly-lit showroom floors. Manufacturers accomplish this in much the same way that transvestite hookers in San Francisco’s Tenderloin district do—by showing you everything they’ve got, turned up to eleven. You want brightness? We’ll scald your retinas. You want sharpness? We’ll draw a black outline around everything for you. Like bright colors? We’ll find them even in Casablanca. Oh, and since you associate “yellowing” with age and decay, we’ll also make the image as blue as a retiree’s bouffant on Miami beach.
Here’s how Inception looks at your local Best Buy:
It’s understandable how this comes to be. After looking at the Best Buy version, the correct version looks positively sad. This is why we don’t taste Pino Noirs after drinking a Doctor Pepper, and why you can’t compare TVs in a store. At Best Buy, you’re not comparing TVs, you’re comparing settings. It’s not just that TVs in stores are too bright, too colorful, and too blue—they are clawing over one another to display the brightest, bluest, and most saturated image on a wall of 300 competitors.
At home, you don’t have 300 other TVs to compare yours against, so you won’t suffer from your natural inclination to gravitate toward the most candy-coated images. At home, you’ll be delighted with Inception looking exactly as intended. But you won’t be seeing that.
Fortunately, you probably won’t be seeing the hyper-colorful showroom “torch mode” version either. Most reputable manufacturers are seekingEnergy Star approval on their flatscreens these days, and part of that certification means that the sets cannot come off the truck in “demo mode,” also known as torch mode. You may be presented with a choice when you first power up the set: demo mode or something like “home” mode. Pick “home” mode and your default settings will be somewhat tamer than the “hey, look at me” showroom floor configuration.
And that, right there, is as far as 95% of TV owners will ever go toward “calibrating” their TVs. More than ever, this is a tragedy.
Most TVs have some preset modes deigned for different uses. There’s often a “Cinema” or “Movie” picture mode. Use it. It’s the best, easiest shortcut to setting up your new TV to be as inoffensive as possible. These modes will be quite subdued compared to the amped-up default settings, so chances are, when you first switch them on, you’ll experience a bit of that “wow, that sure is yellow” sensation that you get when you look back to the correct Inception frame after staring at the torch-mode one for a minute. Don’t worry, this will pass almost immediately.
Even with this done however, your TV is, in all likelihood, still actively trying to destroy cinema, right in your home. Chances are your new TV is an LCD panel, and chances are it features “120Hz!” or even “240Hz!!!”
First, let’s talk about LCD technology versus plasma. Most TVs these days are LCD. Some manufacturers have completely phased out plasma. Why? Because while plasmas look better than LCDs in your home, they don’t win the brighter-bluer battle on the showroom floor.
Pause for a moment to reflect on this tragedy—this battle of who can make the most egregiously wrong image has actually caused a superior technology to fall out of favor with manufacturers. Plasmas lost by making movies look they way they’re supposed to.
How exactly is plasma superior? For the time being anyway, plasma TVs can render much darker black levels than even the best LCDs. This is the single most important factor affecting image quality in the home, where you are likely to watch movies with at least some of the lights off. It’s also something you just plain cannot judge in a brightly-lit store.
New paragraph for effect: If you are TV shopping, just about the worst thing you can do is go look at TVs in a store.
Plasma sets also tend to have superior viewing angles. This means that they look good from a broader array of seating positions. LCDs tend to have a “sweet spot”—they can look fine for whomever is seated right in front of them, but the image quality degrades rapidly as you move off-axis—and that’s both side-to-side and up-and-down.
But my personal favorite thing about plasma TVs is that they usually don’t have a feature common in LCD sets: motion smoothing.
This “feature,” which goes by different names, is associated with sets that tout “120Hz” or “240Hz.” Those are refresh rates, and LCD sets need to tout fast refresh rates, because in the early days of LCDs, they suffered from poor, smeary motion rendering. Those days are gone, and a modern LCD is perfectly capable of displaying 60 clean images per second, which is perfect for NTSC video.
Now I’m going to do that internet-unfriendly thing I try to do every so often, which is make a nuanced point. A 120Hz or 240Hz refresh rate is not inherently a bad thing. In fact, they can be good. Both are multiples of 24, where 60 is not. A 60Hz TV, such as a CRT, must display 24p material using an alternating cadence known as 3:2 pulldown. Every other frame is shown for slightly longer or shorter than the previous (2/60ths of a second, then 3/60ths, then 2, then 3, and so on). We don’t tend to notice this, but it is hardly the same as seeing each frame for precicely 1/24th of a second.
120Hz and 240Hz TVs have the potential to show you each 24p frame for exactly 1/24th of a second, perfectly replicating The Way Movies Look, and that’s great. The problem is, it’s hard to make them do that, because of awful motion-smoothing settings that are On by default.
Manufacturers somehow decided that The Way Movies Look is bad, and that they should “fix” this using technology. The same technology that is used in software like Twixtor and Kronos to change frame rates of video. Why show a mere 24 frames per second when we can magically build, orinterpolate, new in-between frames and show 120 or even 240 frames per second?
The results, while varied, are certainly “smoother” than 24p. And the engineers rejoiced. “We’ve fixed that horrible ‘film look!’”
You’ve seen this. It’s in every store. A big, bright, blue LCD set blastingAvatar. The image is so smooth and “live” looking, you catch yourself trying to figure out if it’s the game or the movie. Or it’s some classic film, playing big and bright and smooth and causing you to wonder if you’re somehow seeing the EPK “behind the scenes” video instead of the actual movie.
Filmmakers were not content to make movies with video cameras until those cameras could shoot 24p, because video, with its many-frames-per-second, looks like reality, like the evening news, like a live broadcast or a daytime soap opera; whereas 24p film, by showing us less, looks somehowlarger than life, like a dream, like a story being told rather than an event being documented. This seemingly technical issue turns out to have an enoumous emotional effect on the viewer.
These days, any TV you are likely to buy, will, by default, have technology enabled that completely changes the emotional quality of the movies you watch. This is a cinematic disaster.
But again, let me try to restate my nuanced point: The fact that these TVs refresh at 120Hz or 240Hz is not the problem. It’s the motion smoothing technology, often enabled by default, that destroys the way movies look and renders them as soap operas. And you can turn this off.
In a Samsung set, the bedeviling setting is branded as “Auto Motion Plus,” and you can set it to “Off” in the Picture Options menue under Picture.
LG calls it TruMotion, and its found in the Picture menu. Set it to Off.
Sharp calls it simply Motion Enhancement, and you turn it Off at Picture Settings > Advanced. Sharp has a mode called “Film Mode” that is good—it recognizes 24p material and displays it correctly.
Similarly, Toshiba sets have a “24fps Cinema Mode” that displays film material at a true 24 unadulterated frames per second.
Panasonic, despite making the mest plasmas available, joins the sad trend with their LCD sets in the form of “Motion Picture Pro 4,” found under Picture > Advanced.
Sony (not pictured) calls theirs Motionflow, and it’s in various places on various sets, but easy to find. Turn it, say it with me now, Off.