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challengelascl · 2 years

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Magic bullet denoiser 2 serial

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Looks 2 and Mojo are now compatible with Final Cut Pro X and Motion 5 Looks 2 is also supported in Sony Vegas Pro and Avid Media Composer.

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NEW FIXES! Issues with Looks 2 on Retina screens have been fixed PhotoLooks 2 launches in Lightroom on Windows 64-bit and the Colorisa II keyer works in Premiere Pro CS6 Free update Free update for Magic Bullet Suite 11 owners. Free update for Denoiser 1 and Denoiser II owners. NEW UPDATE! Denoiser 1.4 now runs 3?4x faster on OpenCL 1.1 systems with supported graphics cards, letting you find beautiful footage under the noise.

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Whether you are creating a color treatment, removing video noise, or doing a skin smoothing beauty pass, Magic Bullet Suite helps you create the final look that tells your story perfectly. With the recent additions of Looks 2, PhotoLooks 2 and Denoiser II, our Magic Bullet Suite keeps outdoing itself, giving you more expert products at an even greater savings. Its nine essential tools let you capture the emotion of your scene, making your footage more personal and compelling. Designed by seasoned colorist and film director Stu Maschwitz, this Suite produces professional Hollywood-style results on an indie budget. Magic Bullet Suite 11 is the newest, hottest release of our definitive toolkit that brings professional tools to filmmakers everywhere. Red Giant Magic Bullet Suite (Adobe CC compatible) | 167 MB TECH SPECS: Magic Bullet Looks Mac:OS X and later Windows: 7, 8 & 10 bit Host Application: Adobe After Effects and Premiere Pro CC, CS6 Apple Final Cut Pro X, Motion 5, MagixÂ Vegas Pro 14, Avid Media Composer or later, DaVinci Resolve, EDIUS, HitFilm Pro Magic Bullet Colorista IV Windows 7, 8 & bit Mac: OS X or later.RAW Paste Data Red Giant Magic Bullet Suite (Adobe CC compatible) Features: Color Correct Magic Bullet Suite 13 gives you everything you need to make your footage look great, right on. The kit includes basic tools: Magic Bullet Looks 3, Magic Bullet Colorista III, Magic Bullet Film, Magic Bullet Mojo 2, Magic Bullet Cosmo 2, Denoiser II and LUT Buddy. There’s also Neat Video, which is more than capable of cleaning footage. Now, Denoiser isn’t the only option to help with this. Denoiser reduces the grain or noise that appears in your footage. Red Giant also has another plugin called Denoiser II, which is a part of the Magic Bullet Suite. Maugami 10 July 2020: the prince and me 3 trailer

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Shaktik 11 April 2020: storybook movie wiki Meztibar 26 November 2020: best action movies 2016 list Shamuro 18 September 2020: serie hannibal trailer espanol I did a few Test with a very Small Clip, and – When I apply the Magic Bullet Denoiser |||, I see a Red Color Line In the Timeline. Professionals may find it more cost effective to buy the complete suite of Magic Bullet plugins. However, its paid version is nearly double the price of Neat Video.

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It has a fully functional trial version and a paid version. Magic Bullet Denoiser III is another powerful denoising plugin that’s compatible with PC and MacOS. I am applying Denoiser II to AVCHD xp footage from a GH2 camera in CS6 Premier Pro.

Previewing settings is extremely slow, and I am unable to quickly toggle Denoiser off and on to see a before/after comparison.

Magic bullet denoiser 2 premiere cs6 Dec 03, Yozshum 24 March 2020: ongoing cricket series points table Mooguktilar 3 April 2020: bombay to goa 2007 hindi movie freeload The suite includes Looks, Colorista IV, Denoiser III, Mojo II, Cosmo II, Renoiser, and : Red Giant. Magic Bullet Suite brings intuitive, real-time color correction right to your editorial timeline. Magic Bullet Suite is a complete set of plugins for color correction, finishing, and film looks.

The latest release v, Denoiser II is compatible with Final Cut Pro 7, After Effects CS4, CS5, CS, CS6 and Premiere Pro CS5, CS, CS6 Additional controls and automated processes for Motion Estimation, Separate Fields and more advanced features in fine tuning the amount of noise in details.

Adobe Premiere CS6, CC, CC, CC, CC Since Magic Bullet Denoiser II is no longer updated/maintained, if it’s running a host or operating system outside of these specifications, the program will not be guaranteed to work as it’s technically in an unsupported environment.

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niadeatewant · 3 years

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kerlidedi · 3 years

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loadinggourmet587 · 3 years

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Tourist Bus Simulator Pc Game Activation Key

Tourist Bus Simulator – Neoplan Skyliner PC Game Free Download for Mac

Tourist Bus Simulator Activation Key

Tourist Bus Simulator Pc Game Activation Key

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Overview of Tourist Bus Simulator – Neoplan Skyliner Games

This DLC for the vehicle fleet of Tourist Bus Simulator features the Neoplan Skyliner! This “King of the Road” is a special luxury coach in the real world and of course in this simulation.

The double-decker bus in this DLC comes with a variety of designs and a customizable finish. The virtual driver operates from an interactive cockpit modelled in high detail, featuring various camera perspectives. This is the place where all features of the bus can be controlled – including large dashboard displays, a driver monitor with navigation and rearview camera, controllable air conditioning and extensive controls of the harmonic interior and exterior lighting concept.

Additionally, the Neoplan Skyliner is fitted with a lifting system as well as interactive doors and luggage compartments which can be opened and closed individually. An original Skyliner was available for sound recordings leaving this virtual model with nothing to be desired for when compared to its real-world counterpart. And of course, this luxurious double-decker can be repainted by you via the Steam Workshop.

The Fernbus Coach Simulator DLC Neoplan Skyliner sets new standards – making it the absolute highlight of every Coach fleet!

Original Neoplan Skyliner double-decker bus

Includes 9 other repaint designs and a finish customizable in hue, saturation and brightness

Detailed, interactive cockpit with extensive functionality and various camera perspectives.

Usable air conditioning

Driver monitor with navigation and a rearview camera

Lifting system

Extensive lighting system, interior and exterior

Usable driver windows and sun shield

Interactive controls for door and luggage compartment

Reactive displays

Original sounds

Repaintable via Steam Workshop

SYSTEM REQUIREMENTS

Tourist Bus Simulator Activation Key

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Requires a 64-bit processor and operating system

OS: Windows 7 / 8 / 8.1 / 10 (64bit only)

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DirectX: Version 11

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Sound Card: Yes

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DirectX: Version 11

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Sound Card: Yes

Additional Notes: Installing on SSD recommended

How to Install Tourist Bus Simulator – Neoplan Skyliner Game

Click the “Download” Button Below.

Download Page Will Start

You Should Agree With the “User License Agreement” and click “I Understand” Button.

Save Game/Software By Selecting Path.

Download Process With Start.

Once Download is Completed, Install, and Enjoy!

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Tourist Bus Simulator Pc Game Activation Key 2020

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foxenglish864 · 3 years

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importantlovecolor · 3 years

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The DWL-122 also includes 64 or 128-bit WEP encryption for the security of your wireless transmissions, and is a plug-and-play device that can automatically connect to other D-Link. Looking to update to Windows 7 but, the DWL-122 has no Windows 7 drivers. I don't know of any on the web, but if you do please post it. D-Link DWL-122 802.11b 11 Mbps USB Adapter. After reading the other reviews of folks having trouble with the OS X drivers, I went straight to the D-Link Web site and downloaded the latest drivers. I then installed the drivers, shut down, and inserted adapter. The MAC recognized the network immediately and I was up and running wirelessly. D-LINK DWL-G122 WINDOWS DRIVER DOWNLOAD - Right click My Computer. Solvusoft's close relationship with Microsoft as a Gold Certified Partner enables us to provide best-in-class software solutions.

This package contains the files for installing the D-Link DWL-122 Wireless Adapter Driver. If it has been installed, updating (overwrite-installing) may fix problems, add new functions, or expand.

Today everything is wireless (recently I was also in trouble getting a consumer ethernet HUB – I can easily found only access point…). So, to fill the gap 🙂 a quite inexpensive USB key can put a little of “wireless” into our “old” computers.

The D-Link DWL G122 is a compact USB key, cheap and 802.11b/g compliant. BUT, also with the last 2.6 kernel (tested with PCLinuxOS and Ubuntu) is not recognized. You can try using ndiswrapper but I have found a better solution: native drivers under Linux (easy to get working, too!). I’m writing this simple how-to because I have found many docs about installing this dongle under Linux, but many proposed solutions are just not working (at least with my dongle).

So, before following these instructions, make sure to have my same USB key. I own a D-Link DWL G122 H/W Ver C1 F/W Ver 3.00. To make the check you can also plug the key into your Linux system, then run from a terminal:

The same key will have the same ID (07d1:3c03). If you have the same dongle, remove it from the USB port, then go to the drivers site. Download the rt73 branch (I have used the CVS package).

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shadowysandwichcollector · 4 years

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Titler Pro For Mac

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qgnfullprogramsblog-blog · 5 years

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editzone12 · 8 months

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Exploring Edius X Price and Its Impact on Video Editing Budgets

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fe8majorprogramsnetwork-blog · 4 years

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lorrainecparker · 7 years

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In Depth – Ignite Pro from HitFilm

I wanted to follow up my review of HitFilm Pro 2017 with a look at the two products that come as part of the Studio bundle. In this article we’re going to look at Ignite Pro, which can be purchased as part of the Studio bundle or on its own for $199. Alright, here we go!

WHAT YOU GET

Let’s ignore the fancy marketing speak on the HitFilm website, as they describe Ignite Pro as “550+ effects and presets for use in Adobe After Effects CC, Adobe Premiere Pro CC, Apple Final Cut Pro X, Apple Motion, Avid Media Composer, DaVinci Resolve 11/12, Grass Valley EDIUS 8/9, Sony Catalyst Edit, NUKE 9 by The Foundry and Vegas Pro 14.” What it should really say is that there is just short of 179 effects for you to work with inside of After Effects. With that being said, in After Effects you have access to 173 effects. The ones that are not supported in the move from HitFilm to AE are:

360° Text (360° video Category)

LUT (Color Grading Category)

Puppet (Distort Category)

End Credits Crawl (Generate Category)

Pulp Sci-fi Title Crawl (Generate Category)

Text (Generate Category)

So that gives you a grand total of 173 effects to work with in After Effects. Now, also keep in mind that for your $199, you not only get access to the effects in all the other host applications I mentioned about (yes, on both Mac and Windows), but you also get three active activations at one time. Meaning you can run Ignite Pro on three different workstations simultaneously. Not too shabby for $199.

Now, there are a few things that I want to point out before I move forward. I find some of the decisions made by HitFilm, when it comes to Ignite Pro, a little odd. First of all, if there are 550 presets (I’m not sure if that number includes the actual effects themselves, or just the amount of presets), where are they? They seem to be stacked very high in some effects, and other effects have none at all, and seemingly no way to save presets for you to go back to if necessary. There are effects that, to me, seem like obvious effects for presets, like TV Damage but, surprisingly, it doesn’t have any presets. Not one. Secondly, there is no help file attached to any of these effects. None. Now, if you are looking for the help manual, you can find it at this link, but with any good effects package (Sapphire, BCC, FX Factory) there will be a button to launch a help file, to give you detailed information on what exactly the effect does, and how to manipulate it. If there’s no help documentation, you NEED presets of every effect, to give the user an idea of where to start, and/or how to create something cool with that particular effect. Lastly, I find the effects to be slow. Slow to apply (when applied it takes a couples of seconds for the effect to appear), and slow to preview (meaning also slow to render). I’m guessing that’s because they are not GPU accelerated (as I couldn’t find anything on the site mentioning GPU acceleration), which is a bit of a letdown.

Now, for this review, I’m not going to go through all the standard effects that you can get in just about every package out there. I’m going to focus on some of the standout effects. The effects that are worth the $199 price tag. One other thing that I want to point out, and it’s something that exceptionally important when talking about Ignite Pro, is that it’s specifically geared towards independent filmmakers, who will need to do all their visual effects themselves, so there are some unique effects in here, that I haven’t seen (or haven’t seen done well) in other packages. Let’s take a look.

RAIN ON GLASS

This effect jumped out at me right away for two reasons. One, how simple the effect interface is and, secondly, how realistic the effect actually looks. This effect has presets including Light, Medium, Heavy, Mist, Sprinkling and even downpour, and the end result looks like actual rain on the window!

Heat Distortion

This was an effect that I was super excited about when Video Copilot released it, as there weren’t many Heat Distortion effects (if any) that were out there to simulate this real world situation (again, you see I’m going back to the fact that HitFilm is trying to get as many of these “Real World” effects in Ignite Pro as possible). Again the effect is simple to use, very few parameters, and gives you a great looking end result.

3D Extrusion

Nothing drives me crazier in After Effects that extruding text. This is something was was completely botched by Adobe since day one, and thankfully Maxon and Cinema 4D has stepped in to save the day when it comes to working with extruded text in AE. Unfortunately, with that being said, I wish the process was simpler. WAY simpler. By “upgrading” my comps to 3D (RayTraced or Cinema4D), it’s still a big pain to do something simple like Extrude Text. A bunch of comp changes need to be made, there are then a bunch of things that are not supported (Blend Modes, Track Mattes, etc), and you know how it goes. That’s where this simple, powerful effect comes into play. No need to change comp settings, no worrying about unsupported features, you don’t even need to worry about lights. Generate 3D will quickly and easily extrude your text, and it will look exactly the way you think it should, with a couple clicks of the mouse. After Effects lights are even supported, to give your text an even more realistic look. Now, with all that being said, the effect doesn’t support AE Camera information, but I won’t fault them for that on this release. Hopefully Camera support will be coming in an upcoming version.

Shake

I’m a big fan of a simple Camera Shake, and Ignite Pro has that, and then some. Not only does it have the expected Amount, Speed and Seed parameters, but it also has individual control over the X and Y Shake, as well as the Tilt, AND even Motion Blur capabilities right from within the effect.

Lightswords

Alright, for me, this is a guilty pleasure but is also a very handy effect to have. Believe it or not, there are nine different LIghtsword effects in Ignite Pro. They are actually 3 effects in three different categories. Let’s talk, briefly, about what each of them do. Lightsword two Point (Auto) is the primary one you will be using. It gives you a quick way to place points at the hilt and tip of the lightsword blade. Once you’ve animated the movement over time, Ignite Pro will add the required Motion Blur in for you, obviously, based on how fast the lightsword is moving. The Ultra version of the effect gives you more distortion types to alter the core, adjust the glow shape and distort the appearance of the background throughout the overall appearance. The 360° degree version of the effect is obviously designed to be used in a 360° project. So, that does beg the question, what’s the difference between that and the Manual four point version of the effect. Well, the four point version gives you two points at the hilt and blade tip to give you more precision in the look of the effect. Why do you care? Well, this will give you the ability to create that very cool “Lightsword Fan” look that happens when the blade is swung in very popular science fiction movies!

Hyperdrive

This is an effect that I can see many people overlooking, because they think “I’m not making any kind of Space Opera, so where would I ever need an effect like this?”. Well, for anybody working on a science fiction related show, or promos or bumpers for any type of Sci-Fi movie, this effect will really come in handy. I’ve been using After Effects for a long time, and if you were to ask me how to create an effect like this, I would probably play around with Z Blur, or another effect of that type. Hyperdrive does all the work for you. Simply apply the effect to a black solid, set’s it’s “Blend with Source” parameter to be “On Top”, and now drag the progress bar. That’s it. Done! If you want more stars, you can add them from right within the effect, but otherwise the effect is done for you, and it actually looks like its right out of the Force Awakens (or the Last Jedi….spoiler alert!).

Letterbox

Masking for letterboxes drives me bananas in After Effects, and this effect is quick and simple. Apply it to your layer, head into the Effects Window, and choose the aspect you want, or create a custom one quickly and easily. The only thing that the effect is missing, is the ability to adjust your footage behind the letterbox, but I’ll keep my fingers crossed for that in the next version.

Neon Path

I want to wrap up the my look at my favorite effects with Neon Path. This has to be my “Top of the Favorites”, as it’s, again, a simple, powerful effect that is really easy to get great results with. Here’s a simple animation I created with it.

How I achieved this look was pretty easy. Type in whatever text you want, and apply the effect to it. Once there, I chose a preset to get me started. In this case, it was the Bates Motel preset. That defined the look. There are parameters here that you can adjust the Core and Inner and outer glows, but I wanted to create something cool, and quick. So, I twirled down the Flicker parameter, and adjusted the amount from 0% to 50%, and what you saw above was the end result. A cool, neon looking sign, that you could composite into a shot, and it would look pretty realistic. This is an effect I could see using in a ton of different projects, as it takes the concept of the stroke effect, and the glow effects to a new level, and it’s super easy to use, as you’ve seen. One thing that I really like about the above look is that it’s very similar to the look that Universal Studios had created for their Atomic Blonde trailers and TV spots, so you can see how the HitFilm effects were designed especially for this type of effect and look.

So, all of this does bring us to the next logical question. Is it worth the $199 price tag. Well, $199 divided by 173 effects brings all the effects in at $1.15 per effect. Now, as with any large bundle, there will be effects in the package that you won’t use, but of the 173 effects, more than half of them are effects I can see myself using on a pretty regular basis. To be honest, I’m too busy to be messing around with color grading effects to get the right look for certain scenes, this is one reason i’m super happy that they have many different film looks at my disposal (Bleach Bypass, Day for Night, Vignette effects etc), which I didn’t mention before, they are just icing on a package that some great “stand out effects” that make the $199 price tag an easy pill to swallow.

Ignite Pro hasn’t been around for a long time, so there are still some things that need to be worked out (GPU acceleration, all effects being 32-bit, etc), but I will say that with the trend moving more and more towards subscription models for not only the applications we use, but for the effects as well, it’s good to see that HitFilm is taking Ignite Pro seriously, and have put together a package that has many shining star effects, that you won’t find in other packages.

For more information, or to try a free demo of Ignite Pro in your NLE/compositing application of choice, you can download it at https://hitfilm.com/ignite-pro/

The post In Depth – Ignite Pro from HitFilm appeared first on ProVideo Coalition.

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editzone12 · 2 years

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lorrainecparker · 7 years

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In Depth Look – HitFilm Pro 2018

I’m the first one to admit that I’m a fan of HitFilm. For me, it’s like the Little Engine That Could. The HitFilm team have put themselves in a very interesting place. They are essentially taking on both Adobe and BlackMagic design, by attempting to give editors and compositors an alternative to doing their editing and graphics work in Premiere and After Effects and/or Resolve and Fusion. With a team as small as they are (they mentioned in their livestream they are a team of about 20), this is a pretty monumental task but one that, if you’ve been following them for the last few years, I think they might just be up for. They have a new version of HitFilm Pro 2018 that just hit the internet, along with an update to their Ignite Pro plug-in line, and a new product called Action Pro. Let’s take a look and see what’s new!

HITFILM PRO 2018

Gone are the days of “Yearly Updates”. Last year’s HitFilm 2017 was the end of that. Now, it’s simply HitFilm Pro, and with that, a new pricing and update model. The issue you had before, much like with any “non-subscription based” software is that if you purchase a month before the newest version comes out, you’re out of luck with upgrading. So with that, what Hitfilm has done is when you purchase HitFilm Pro 2018 (I know, I know, we’re not supposed to call it that), you get a year’s worth of updates. Doesn’t matter if they go through two major updates or just one. Your one price gets you all the necessary updates.. What is that price, I can hear you asking in your head? Well for $299 US you get:

12 months of software updates

12 months of technical support

Professional 3 seat license – run on 3 computers simultaneously

If you’re updating from a previous version of HitFilm, you can upgrade from HitFilm 4 Pro for $169 US.

With that being said, I should also point out that there are actually two versions of HitFilm. There is an Express (Free) version, and the Pro (Paid) version. What I find very interesting about HitFilm Express (HFE), is that even with the free, stripped down version, you can purchase updates as you go. Want to have Mocha HitFilm tracking in HFE? No problem, $50. Yep, that’s right, Mocha for HitFilm is $50. Now keep in mind that Mocha HF is included in the Pro version, but just having the option to add it to the HFE is pretty awesome. If you want to check out more about HFE, you can check it out at this link. Okay, let’s get the ball rolling and talk about what’s new in HitFilm Pro 2018.

Major Timeline Enhancements

Now, when I say this, the timeline itself hasn’t changed, but what you can do in the timeline has changed quite a bit. If you’re not familiar with how HitFilm Pro 2018 works, it works much like Premiere does, if you are working with an After Effects workflow in mind. Edit what you like, and add effects as you go, to whatever clip you think needs it. When you’re ready to do more “intense” visual effects work, you can take clips, and create “Composite Shots” out of them. Basically they are nested shots that you can now add things like Planes (Color Solids), Text, Grades (Adjustment Layers), Cameras, Lights and Points (Null Objects) to. This is basically your effects workflow. Well now, all the animation tools that were previously locked away behind the “Composite Shots” are now accessible to you in your timeline, and you have the ability to add things like Text directly to your shots.

Text, Text, Text

One of the biggest annoyances of NLE’s is that normally your text workflow is strictly 2D, unless you want to pay more for third party effects. Don’t get me wrong, there’s nothing wrong with third party effects, but ideally, most people want their text to have 3D capabilities right out of the box. Well, HitFilm Pro adds some excellent new 3D capabilities to your text. Adding text to your timeline can be done either through a composite shot, or now directly onto a clip in your timeline. Once there, you’re working with 2D text that can be manipulated much like any other effect added to a shot. But, here’s where we can expand on the text capabilities. By typing in TEXT in the Effects search window, you’ll see there’s a Geometry category that has three effects that can be added to text only. Bevel, Extrude and Rotate. Now, there’s a catch here, and it’s something that’s important for me to point out. These three Text effects only work on actual text layers, not on Text Effects, so for you to use this workflow, you’ll need to add text layers inside of a Composite shot. One thing that I’m liking with HitFilm Pro 2018 is that, much like After Effects, there are several ways to do the same thing, and if you don’t want to be constantly going back and forth to the effects window, you can actually apply Effects and Behaviors right from within the Controls window. Also, if you’re talking about 3D text (you have to “upgrade” your text to give it 3D capabilities), you also have access to the usual 4 viewports, if you need them, to get your text set up in 3D space as quickly as possible.

Behaviors

This one is tricky. When you’re implementing a feature that is hugely successful in another application, namely Apple’s Motion in this case, you need to do it as good, if not better than they do to make it a feature that’s worth using. Let’s talk about Motion for a second. Apple has Behaviours down to a science. They work, in conjunction, with the HUD (Head’s Up Display) to make the process of animating the Behaviours super simple. Inside of HitFilm Pro 2018, you don’t have the luxury of the HUD, so you have to do everything much like how you do effects work. For me, I think that Behaviours are a fantastic idea inside of Hitfilm, but using them is only marginally easier than working with standard effects. Now, with that being said, it doesn’t mean that they don’t do something very cool, because they do. You have nine different Behaviours to choose from, including:

Acceleration

Attract To (allowing one layer to be attracted towards another)

Drag

Gravity (move down the screen as if falling under gravity)

Mix Parent Position

Repel From

Rotate by

Throw

I think that moving forward, Behaviors is something that HitFilm needs to focus on, as a better U.I. for them would make working with them a much better experience.

Vertical Video Effect

HitFilm Pro 2018 is marketed at the Prosumer user. People who get out there and shoot with whatever camera they have available, and to be honest, many people out here are still shooting the dreaded Vertical Video. If you’re someone who’s shot a ton of vertical video and need a quick solution to get it into your timeline, while losing the pillarboxing, the new Vertical Video Adjustment effect which uses a blurred version of your video clip behind the main clip is just the tool for you!!

360° Video Viewer

As we all know, 360° video has become huge. Adobe purchased Mettle’s Skybox so AE users could have 360 capabilities inside of After Effects. Apple hired Tim Dashwood of Dashwood Cinema Solutions to work on VR and 360 inside of Final Cut Pro X. Well, HitFilm has stepped things up a notch by adding 360° capabilities to the newest version of HitFilm. With HitFilm Pro 2018, you get two new effects, and an effect that has been renamed. I figure that instead of me rambling on, explaining what each of the three effects do, I’ll give you the “manual” version of it.

360° Text

Creates text with unwrapped spherical distortion, for use with 360° video. Apply the text to your 360° video layer before applying the 360° video viewer. The text will appear distorted initially, until the 360° viewer is applied to render the 360 video properly onto a sphere.

360° Video Transform (previously called Environment Map)

On 360° video, this can be applied to adjust the position of the video layer without losing its wraparound appearance. It can also be used effectively on wraparound environment maps.

Applying this to an ordinary layer will create distorted, unusual results.

360° Video Viewer [Layer Only]

Apply this effect to a 360° video layer to wrap the layer onto a spherical shape for viewing. This wraps the selected layer onto a spherical shape.

When placed as the bottom layer in a 3D composite shot, this creates a convincing, wrap-around background for 3D shots. Examples would be a sky background for a cityscape or plane shot, or a space nebula for a spaceship fly-by.

The environment map viewer will automatically update as the camera is panned in all directions.

360° Video workflows are more and more becoming the norm in many people’s workflow, and the fact that HitFilm Pro 2018 is a relatively early adopter is a good thing.

Alright, that pretty much wraps up the new features inside of HitFilm Pro 2018 (2017), but that’s not to say that there are not some other new features inside the Studio version of HitFilm. Let’s take a look at what else they have to offer.

IGNITE PRO

Let’s start out with this. 180 effects, over 800 presets and support in the following host applications:

Adobe After Effects CC

Adobe Premiere Pro CC

Apple Final Cut Pro X

Apple Motion

Avid Media Composer

DaVinci Resolve 11/12

Grass Valley EDIUS 8/9

Sony Catalyst Edit

NUKE 9 by The Foundry

Vegas Pro 14

That’s pretty damn impressive. Now, I will call BS on the actual number of 180 as, for example, in the 360 category there is three Lightsword effects (2-point, 4-point and Glow only which, for me, count as only one effect), and in the Generate category has six different lightsword effects, so the milage with the actual number of 180 will vary from reviewer to reviewer. Either way, this is a very impressive effects bundle for all host applications, except for Media Composer users, as not one of the effects in the entire bundle is Real Time, so expect a Blue Dot effect when working with them, but to be honest, that’s an absolute minor thing, as when you make your purchase of Ignite Pro, you get the effects in all supported host applications! The biggest new feature in Ignite is the 360 category, with a ton of 360 effects including:

360 Animated Lasers

360 Blur

360 Bulge

360 Channel Blur

360 Fisheye Converter

360 Fractal Noise

360 Glow

360 Glow Darks

360 Lightsword (2-point Auto)

360 Lightsword (4-point Manual)

360 Lightsword (Glow Only)

360 Magnify

360 Neon Path

360 Text

360 Twirl

360 Unsharpen

360 Video Transform

360 Viewer

I’d say that 18 (16 if you only count one lightsword effect) 360 effects is a pretty good place to get started with your 360 workflow. With all of that, there’s more! I’ll call it five additional new effects, and one huge new tool.

Block Displacement: Splits the video into a grid of blocks and then allows you to swop them around or randomise them.

Puppet: Use the Puppet tool to quickly add natural motion to raster images and vector graphics, including still images, shapes, and text characters.

Clone: The clone stamp is useful for duplicating or removing specific parts of a layer.

Text: Apply advanced, customizable text to your footage.

Dot Matrix: Similar to the half tone effect, Dot Matrix creates a look similar to a black and white newspaper print but dots are based on a grid of squares.

Pixel Sort: Sorts the pixels in the video based on brightness. This can be used to create some amazingly stylized effects as seen in a number of popular films including Ghost in the Shell.

The big “Tool” included in Ignite Pro is the Puppet Tool which, much like the After Effects equivalent, is designed to let you rig up elements of a composite, and animated them to give them very realistic natural movement. I’ll be honest, I was pretty stunned that this was added into Ignite Pro as just an additional effect, as it’s a pretty big deal to help HitFilm Pro 2018 users make even more realistic composites in their timelines! Okay, let’s move on and talk about the new kid on the block, and that’s Action Pro!

ACTION PRO

This is an interesting one and one that is, in my opinion, taking a big risk for Hitfilm. Action Pro is a separate (but included in the Studio bundle of HitFilm Pro 2018) application that is currently in Beta, but one that you have to pay for to use.

As it’s described on the HItFilm website:

“Tired of tedious keyframing? Take animating into your own hands (literally) with our brand-new motion-building software: Action Pro Beta. Easily transform real-world motion (from your mousepad or Leap Motion device!) into professional 2D and 3D animations. No clunky graphs. No numbers. Record your moves and watch your animation come to life.

So, after that, that does beg the question, what really is Action Pro? Well, if you’re familiar with After Effects, Action Pro is Motion Sketch. You can use your mouse (or Leap Motion device that will attach to VR rigs like Oculus Rift CV1, HTC Vive, and Oculus Rift/HTC Vive Pre development kits) to sketch motion in the application, and then import that information into your HitFilm Pro 2018 project to drive animation like Particles, Strokes, etc. The next obvious question is, how does it work? Well, quite simply, you can queue up the application to record your mouse movements, much like in Motion Sketch in AE, and once you’ve captured the motion you want, you can transfer that information back into HitFilm Pro 2018, and use it to drive animation. This effect makes perfect sense when doing things like having “natural” looking particle elements moving through the frame. It’s going to be interesting to see if things pick up for the VR option of Action Pro. The big feature of using the VR rig is that it makes the rotation of the motion sketch possible, where as it’s not possible using a mouse during live recording.

I’ll be honest with you. I have no problem making this a paid addition to HitFilm. If you’re going for the Studio bundle of HitFilm Pro 2018, it’s actually included. Where things get a bit sketchy is when you make people pay $99 for a Beta, and let’s be clear, this is a beta product, when it might very well take a year to get the product out of beta, and then you’re out of update options. When you make your purchase you get, much like with HitFilm Pro 2018:

12 months of software updates

12 months of technical support

Professional 3 seat license – run on 3 computers simultaneously

I’m of the opinion that the 12 months of Software updates and Technical Support should begin when the product comes out of beta, as opposed to having it start when you make your purchase. This way, everyone’s on a level playing field when the product hits version 1.

WHAT’S STILL MISSING

I’m not someone who is a “screen yeller”. You know, one of those people who watch sports and scream at the television when something doesn’t go their way. Well, let me tell you, the lack of AAF support in HitFilm has been making me scream at my screen for years, and I mean this honestly. I’ve mentioned it in reviews, I’ve tweeted it at the development team, I’ve emailed everyone I know at Hitfilm, but they just don’t want to add this feature in. What has made DaVinci Resolve such a success is not just the tools you have at your disposal (as they are excellent), but all of that would mean nothing if you couldn’t get your Media Composer/Premiere Pro/FCPX timeline into Resolve to do your work, and then export out from Resolve to send it back to your NLE afterwards. THIS is what has made Resolve the NLE/Finishing application of choice. If this feature wasn’t there, editors would not take the time to rebuild their timelines, as it just doesn’t make sense. HitFilm is awesome BUT IT NEEDS AAF SUPPORT TO GAIN ANY TRACTION WITH EDITORS WHO CUT IN MEDIA COMPOSER, PREMIERE OR FCPX!!! That’s my shouting rant for today. In the next version of HitFilm, don’t add any other new features except AAF support. Seriously.

THE VERDICT

So what’s my final verdict on HitFilm Pro 2018?

First

HitFilmPro is in an interesting place. It’s the perfect starting point for someone who know’s nothing about editing. Period. For any editor who has used another NLE like Premiere, Media Composer or Final Cut Pro, they will find the editing capabilities to up to what they are accustomed to, but just the fact that this super power compositing application has good, basic editing capabilities (way better than AE and/or Motion) is a huge selling feature.

Second

It’s cheap. At $299 US for the application (standalone, not the Studio bundle), you’ve already saved yourself money from what the Creative Clould offers its one application yearly subscription at $140 US.

Third

OFX Plug-in Support is awesome! I’m running Red Giant Universe inside of HitFilm Pro 2018 and loving it! This feature is huge, as it opens the application up to a whole world of new third party developers, that normally would have overlooked HitFilm Pro 2018.

Hitfilm’s biggest misstep is the exclusion of AAF support, which I believe is integral to getting it in the hands of a more…..professional (for lack of a better term) audience. This, plus the idea that we should pay for a beta of Action Pro is a bit odd. Make this free for a year, to get the bugs worked out, and the community excited about it, and then make it a paid option when it moves from Beta to “V1”. I think this makes more sense, and makes it a bit more fair to the HitFilm Community.

In the end, HitFilm is taking huge leaps forward in the type of work you can do within it (Puppet Tool, new effects, a 360° video viewer and compatible effects (18 of them if you can believe it inside of Ignite Pro) and a rejig to the editing and effects pipeline make HitFilm 2018 a huge new release. If you’re looking for an effects application that won’t break the bank ($349 US for the full version, $219 for the upgrade), look no further than HitFilm Studio 2018! You can learn more about Hitfilm, Ignite 2018 and Action Pro at www.hitfilm.com .

The post In Depth Look – HitFilm Pro 2018 appeared first on ProVideo Coalition.

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lorrainecparker · 7 years

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The cat is out of the bag: Canon EOS C200

The new Canon EOS C200 introduces a new RAW recording format: Cinema RAW Light. Smaller file sizes saved internally to a CFast 2.0 card. The cameras – there is a Canon EOS C200B – will be on display at Cine Gear Expo 2017.

No NDA will ever stop rumors from appearing, sometimes months before the official release, images to be distributed, revealing everything that someone is trying to hide. The same happens again, this time, with the Canon EOS C200. The company may well try to keep a veil over the product, but the information appears everywhere. The EOS C200 is such an example. For a couple of months the rumors have suggested what now the company is about to confirm.

I write “is about to confirm” because, while I write this, the official press-release from Canon is not yet available, yet the information about the camera was published, ahead of the end of the embargo, by one of Canon’s dealers. So it’s official, the new Canon Cinema compact camera is out. It’s interesting, though, that the non-official information appears hours after Panasonic revealed a bit more about their own compact Cinema camera, a model that may well be on the same level as the Canon EOS C200.

The new Canon EOS C200 aims to be the ideal camera for single shooters, offering 4K saved internally in a model that will cost somewhere around $7,499 according to the information from Canon. The new camera is a compact model, as expected, and lightweight ( just 1.4kg for the body), designed for comfortable hand-held shooting, suggesting benefits to those who are filming for long periods. The compact size also makes the camera suitable for mounting onto a drone or gimbal. Canon offers two configurations, with the EOS C200B being priced at $5,999, without some of the accessories.

The ability to record RAW internally to a CFast 2.0 card is one important asset of the new model, but that option is associated with what Canon calls Cinema RAW Light, a new RAW format which makes its debut here and may well be the way forward for Canon. Canon says the Cinema RAW Light of the EOS C200 provides the same flexibility in colour grading as Cinema RAW in a smaller file size, enabling filmmakers to record internally to a CFast 2.0 card. It’s an interesting solution, and if it REALLY works, maybe this is the technology/format Canon will extend to its top-level DSLRs. Maybe…

The new format needs to be supported, so Canon has worked with several partners to ensure Cinema RAW Light is integrated with various software programs. As a result, editing and grading of the Cinema RAW Light video format will be supported in DaVinci Resolve of Blackmagic Design. Editing will be possible in Media Composer from Avid Technology, using Canon RAW Plugin for Avid Media Access. This format can also be processed using a Canon application, Cinema RAW Development.

Support for Cinema RAW Light is also scheduled for Premiere Pro CC and EDIUS Pro, Grass Valley’s editing software, during 2017. Additionally, a future version of Final Cut Pro X from Apple Inc. will support Canon’s Cinema RAW Light, using Canon RAW Plugin for Final Cut Pro X.

The ability to record internally 4K UHD/50P MP4, 4K DCI RAW and continuous 120fps High Frame Rate (HFR) in Full HD without crop derives from the use of newly developed Canon Dual DIGIC DV6 processors. The autofocus is also better, according to Canon, due to advances in the Dual Pixel CMOS Auto Focus technology, which is now a regular feature of all professional models when once it was said to be a thing for amateurs. A new touch screen LCD monitor provides smooth AF operation and effective tracking.

Built-in Wi-Fi and Ethernet connectivity allows for browser remote control and the ability to transfer files via FTP, whilst the camera’s compatibility options mean new and existing accessories can be used, including Canon’s electronic viewfinder – the EVF-V70.

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