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Found 17 results

  1. We love FCP X. Like most people, we had initially been taken aback by this bold release from Apple, but as we use it more and more, we are loving it. Here are some fabulous plugins that will add more features to your FCPX SliceX : SliceX lets you create instant Shape Masks to cut out layers or isolate effects directly in Final Cut Pro X without having to go into Motion or create the masks with an external program. SliceX includes nine motion templates for common tasks and you can also use the Shape Masks with built in effects, the built in color corrector or with third party plugins. XMiL: EDL-X makes CMX 3600-compliant Edit Decision Lists based on XMLs exported from Apple Final Cut Pro X. This helps integrating Final Cut Pro X with many industry-standart post production workflows. Luca VFX Plugins: These are amazing plugins for FCPx that includes cool tools like simulated light leaks etc. X Effects 3D: XEffects 3D Transitions are 24 effects for Final Cut Pro X all built in 3D space with camera moves, variable focal lengths, shallow depth of field, lighting and reflections. SlidePop: Slide Pop is a pack of 20 customizable Final Cut Pro X effects and transitions pack inspired by the sweet vintage View-Masters of our childhood. FX Factory: Has some cool effects plug ins. Loudness Change: Why do you want this? Using this tool, it's very easy to make a mix that broadcasters will accept. Just mix to your ears, and let this thing analyze / render to a new file. You end up with a mix with the volume set to the desired LUFS. In the unlucky case there are errors found, you'll get a detailed list what error occurs where.
  2. If your FCP 7 is crashing regularly, one simple solution is to trash the preference files. Quit FCP7. - Click on the desktop and then Option Click on 'Go' on the top menu. - You will see a button called 'Library' which disappears when you release the Option button - Go to this 'Library' folder. - Find a folder called 'Preferences' in this 'Library' folder. - Find and delete this file: "com.apple.FinalCutPro.plist" - Inside the folder 'Preferences' scroll down to find a folder called 'Final Cut Pro User Data' - Delete the following files : 'Final Cut Pro 7.0 Prefs', 'Final Cut Pro Obj Cache', 'Final Cut Pro Prof Cache'. Restart FCP 7. Most of your troubles should have gone.
  3. What’s New in Final Cut Pro X. (10.2) Final Cut Pro 10.2 takes motion graphics to the big screen with incredible 3D titles, advanced masking tools, and effects enhancements that make it faster and easier to get the perfect look. Final Cut Pro X also adds support for cutting-edge camera formats and includes a number of other improvements, making the best-selling version of Final Cut Pro even better. Apple has made FCPX even better with the 10.2 update. It now supports 3D text, advanced effects for grading and masking with unlimited point options for linear, bezier, or B‑spline smoothing. Work natively with a wider range of formats and edit faster than ever with GPU-accelerated support for RED RAW. Final Cut Pro includes support for the entire Panasonic AVC-Ultra family in addition to Sony XAVC S and JVC H.264 Long GOP. And now you can directly import Sony XAVC and XDCAM formats without the need for a separate plug-in. Import, edit, and share MXF files with Final Cut Pro X and Motion. Native support means there’s no need to transcode or rewrap MXF files from asset management systems or third-party apps. Included Compressor settings make it simple to export OP1a MXF files in a variety of frame rates, frame sizes, and codecs. Importing media is faster with media management, transcoding, keywording, and image analysis options consolidated in the single import window. See at a glance where your media will go and how it will be analyzed on import. Check out whats new here.
  4. Native MXF Editing in Final Cut Pro 6, 7, and X Calibrated{Q} MXF Import for OSX is a QuickTime Import component for NATIVE Importing and Editing of MXF Files within Final Cut Pro 6, 7, and X without using Log and Transfer. And you're not just limited to Final Cut Pro, you can also natively import and work with MXF files in CatDV, Compressor, Motion, Sound Track Pro, QuickTime Player and Shake. Please click on the 'Formats' tab above to see the list of supported MXF files. If you have a MXF File that is not currently supported, please email info@calibratedsoftware.com to see if it can be added. To learn more about working with Calibrated{Q} MXF Import, please read the Calibrated{Q} MXF Import User Guide (PDF) here, and also please read Calibrated Software's FCP 7 or FCP X Product Info webpage.
  5. Nick Shaw’s FCP 7 plugin for viewing ARRI ALEXA LogC as Rec.709 in the Final Cut Pro timeline, as well as batch processing dailies. NOW AVAILABLE a new LUT plugin for the Blackmagic Cinema Camera and also a new Aspect Ratio Converter for anamorphic footage. Also available is a RED® version of the plugin for viewing REDlogFilm™ material as either REDgamma™, REDgamma2™ or REDgamma3™. The curves used in this plugin are also available as .mga LUT files for Apple Color and .cube files for DaVinci Resolve. For other LUT formats, please email. Versions of the plugin are now available for Canon C300 C-Log and Sony S-Log (1 & 2). The full versions of the plugins include PDF manuals with workflow guidelines. There are also demo versions available, which have exactly the same functionality but place a red cross through the image and do not include the PDF manuals. Please download the demo prior to purchasing, to ensure the plugin is suitable for your needs. Available now for free from ONSIGHT is OS 3D, a plugin for working with stereoscopic material in FCP 7, written for ONSIGHT to their specifications. A NOTE ABOUT FCP X FCP X does not support FXScript (which these plugins are written in) so the plugins cannot be used in FCPX. An un-watermarked open beta of an FCP X version of the Blackmagic Camera plugin can be downloaded here. If people are interested in FCP X versions of the other plugins, please tell me so by email. Full details and downloads here.
  6. Team

    Editor wanted

    Editor required fresher or some experience knowledge of FCP and After Effect is must Mumbai based (our office is in malad west) editor who can join from tomorrow or asap with salary of 7000 rs / month fixed can mail Cv on contact@nimboopaniadvertisers.com
  7. Gluetools has this amazing Arri RAW toolkit. ARRIRAW Made Easy The ARRIRAW Toolkit allows you to easily work with your ARRIRAW(.ari) footage. With the ARRIRAW QuickTime component, finder is fully aware of ARRIRAW files and includes support for Spotlight, Previews, and basic QuickTime Playback. Other applications that are QuickTime aware, will also work with ARRIRAW file format. Demo Features Supports all models of Alexa cameras. Reads ARRIRAW (.ari) files with a Water Mark (A Red Bar through the image.) Final Cut Pro import panels for ARRIRAW limited to importing a single clip. Final Cut Pro import panel is limited to importing a single ARRIRAW Clip. ARRIRAW Time Code is Fixed to 24 fps in the demo version. ARRIRAW Time Code time is Fixed to 09:09:09:00 Supports QuickTime 7.6.6 under MacOSX 10.8.3 Mountain Lion and MacOSX 10.7.5 Lion ARRIRAW QuickTime Component ARRIRAW is fully supported through QuickTime, which will preform all of the importing, playback, debayer, Exposure, ASA and color correction functions to the movie. All applications that use QuickTime can access all aspects of the ARRIRAW files. Applications including Final Cut Pro, Avid Media Composer, Compressor, can import and play these files without any sort of conversion or preprocessing steps. For the ease of portability with other users, you can quickly and easily convert an ARRIRAW image sequence to any other QuickTime movie format. ARRIRAW Time Code Time code is loaded right into any QuickTime application that supports time code tracks. Reel names (time code track labels) can also be added for applications such as Final Cut Pro. During export from Compressor, time code from the ARRIRAW image sequences can be baked into your destination media. ARRIRAW Metadata Many hardware and software vendors offer the ability to embed Metadata information directly into the ARRIRAW frames. A feature of these components is to retrieve these bits of information and make them available to your tools or applications. Final Cut Studio support is provided by the ARRIRAW Toolkit. With this package, Final Cut Studio will be able to embed the Metadata from the ARRIRAW footage, and preserve it inside your project files. ARRIRAW Spotlight Plugins The Spotlight Plugins enable your system to see inside the ARRIRAW image header. The Finder can extract specific information from ARRIRAW files when it does a "Get Info." You can search for time code, frame rates, encoding information or even "shot notes" from the "project" field. Simple shell scripts can also take advantage of the spotlight services and sift through frames for specific data. ARRIRAW Anamorphic Need to change the aspect ratio of your footage? The ARRIRAW Toolkit has the ability to unsqueeze your imagery using a number of popular aspect ratios, without modifying the original. Preset Ratios include 1.78, 2.0, 2.35 or you can choose your own aspect ratio by entering a custom value.
  8. Content Browser Content Browser is an all-in-one clip management application that can be used with the latest portfolio of Sony camcorders and decks. Content Browser integrates XDCAM Browser (XDCAM) and Content Management Utility (NXCAM) into a single application. Version 2.0.1 Bug fixes (refer to Release Notes for detail) New Features in Version 2.0 Added support for XAVC clip Clip type XAVC Intra 4K and XAVC Intra HD Play XAVC clips Copy XAVC clips, including mark in/out copy Added support for NXCAM DV-AVI clip Added JPG format for capturing still image Content Manager Support — Clips and clip lists can be archived via Sony Content Manager. IMPORTANT: A serial number is required to install this application. If you have a previous serial number from XDCAM Advanced Pack or NXCAM Activation Pack, that can also be used for the installation. A serial number will be required for the installation. More details here. Available for Mac and Windows
  9. The field order for PAL SD in FCP should always be Upper.
  10. ClipWrap (AVCHD is a compressed format which does not play well or at all in FCP. Any which way, you will have to convert it into an editable format) ClipWrap rewraps the video samples from your existing m2t, mts, m2ts files without re-encoding them. This means blazingly fast convert speeds and no image degradation. Need your files in ProRes, AIC, DNxHD or DVCProHD? ClipWrap can seamlessly convert your files. Don't worry about frame size changes, gamma shifts, or any of the other problems resulting from mismatched settings - ClipWrap chooses all those based on the source file's format. ClipWrap speaks your camera's language so you don't have to. It automatically parses the file's format and chooses the proper output format, so there's no hassle trying to determine the proper settings (frame rate, image size, gamma levels, etc). Timecode is recreated in the new QuickTime movie, so you can recapture from tape later if necessary. ClipWrap costs only some USD 50! ------------------------------- What Apple says about AVCHD You can transfer AVCHD footage to your scratch disk using the Log and Transfer window in Final Cut Pro. The workflow for transferring AVCHD footage from a camcorder or disk is similar to the Panasonic P2 workflow. However, there are some important differences: AVCHD support is available only on Intel-based Macintosh computers. AVCHD camcorders typically connect to computers via USB 2.0, not FireWire. DVD-based AVCHD camcorders are not currently supported in Mac OS X. Standard definition video recorded with AVCHD camcorders cannot be accessed in the Log and Transfer window. Preview of AVCHD video in the Log and Transfer window is limited to 1x forward playback. Scrubbing the playhead does not update the video in the Preview area until you stop scrubbing. AVCHD footage is transcoded to the Apple ProRes 422 codec or the Apple Intermediate Codec. You can choose the destination codec in the Log and Transfer window preferences. When you choose to transfer AVCHD audio in the Logging area, audio is automatically mixed down to stereo. It is not possible to delete clips on an AVCHD volume, even if read-and-write permissions on the volume are set to allow file deletion. This behavior is different on P2 volumes, where clip deletion is allowed when proper read-and-write permissions are set. AVCHD files are transferred as entire files from beginning to end. It is not possible to set In and Out points before transferring the clips. Read further on Apple's Website here.
  11. ShotPut Pro v4 ShotPut Pro™ for Macintosh is an automated copy utility application for HD video and photo files. ShotPut Pro is the industry de-facto standard offloading application for professionals. The simple user interface and robust copy speeds make it indispensable for todays tapeless HD workflows get it here.
  12. EOS Movie Plugin-E1 for Final Cut Pro: Key Features & Sample Workflow Complete article from here on Canon's site. One reason for the video image quality of Canon’s EOS digital SLRs is their use of the sophisticated H.264/MPEG-4 compression method for recording video files to the camera’s memory card. This is an ideal file type for video capture in an SLR camera, delivering relatively compact file sizes with image quality noticeably superior to alternate video compressions (such as Motion JPEG). However, the H.264 compression format requires that files be transcoded into a format better suited to editing, effects, and color grading; this would usually be Apple ProRes. The transcoding to ProRes can be a fairly time- and processor-heavy intermediary step that pays off later with superior speed once the post production process begins. (H.264 is NOT an editing codec. Its processor intensive. Its better to transcode your files to Apple Pro Res for post workflow) That’s where EOS Movie Plugin-E1 comes in: It doesn’t eliminate the need for transcoding, but it includes several improvements in functionality and interface, making the experience of editing EOS HD Video footage with Final Cut Pro as fast and seamless as possible. EOS Movie Plugin-E1 for Final Cut Pro Key Features: In February, 2010, Canon Inc. announced the launch of a new, completely free plug-in to be used with Apple’s Final Cut Pro (FCP) software. Once this plug-in is installed in a Mac computer system, it works in tandem with FCP software and can be called-up directly from the editing program's menu system. Simply stated, this new plug-in turns the editing process with video files from EOS digital SLRs to a much smoother and highly automated process. Among the benefits of the new Canon EOS Movie Plugin-E1: - Smooth, intuitive ingestion of original EOS video files, using FCP’s Log and Transfer function. - Time Code is added to each clip (based on the camera’s date/time stamp), as well as user-given reel names embedded in the ProRes files, which can then be viewed from FCP throughout the editing process. - Transcoding speed 2x - 3x faster than previously possible with EOS movie files using Compressor, or similar (performance tested on a 2.8GHz Quad-Core Mac Pro). - With the Log and Transfer function, users can set in and out points to transcode and import only the portion of the clip needed for the project, greatly improving speed and productivity. - Create a disk image (DMG file) of the memory card that may be mounted and used for Log and Transfer operations in place of the physical card – archiving all your footage, and freeing up your CF cards for immediate re-use. - Automatic transcoding of clips from H.264 to various Apple codecs. For example: ProRes 422, which combines superb imaging with no perceptible degradation from the original H.264 files. Selectable formats include: Final Cut Pro 7: ProRes 4444 ProRes 422 (HQ) ProRes 422 ProRes 422 (LT) ProRes 422 (Proxy) Apple Intermediate Codec Final Cut Pro 6: ProRes 422 (HQ) ProRes 422 New for 2011: Version 1.2 of the EOS Movie Plug-in Beginning in late April, 2011, Canon’s EOS Movie Plug-in E1 gets an important update. With the new version 1.2 of the plug-in software, EOS HD video files can now be imported directly into Final Cut Pro, no matter where they are on your hard drive, and regardless of the folder/file structure where they’re stored. Previously, the plug-in required a folder structure identical to the camera’s memory card. Compatibility When upgraded to version 1.2, Canon’s plug-in software will only work with Final Cut Pro software versions 6.0.6, or versions 7.0.3 and later. It will not function with previous versions of Final Cut Pro with lower version numbers than 6.0.6 (the initial version of EOS Movie Plug-in works with versions of Final Cut Pro as old as 6.0.3). Remember, this software is Macintosh-only, as of 2011; there is no Windows version of Apple’s Final Cut Pro video editing software (Please note: While Canon is aware that many video enthusiasts and professionals may use earlier versions of Final Cut, or other NLE programs entirely, as of August 2010 EOS Movie Plugin-E1 is exclusively compatible with the versions of FCP listed above). Mac OS X 10.6.4 or later is also required. EOS video files from the following cameras will be supported by the initial version of this plug-in software: - EOS-1D Mark IV - EOS 5D Mark II - EOS 7D - EOS 60D Please note: as of April, 2011, Canon’s EOS Movie Plug-in E1 (version 1.2) does not offer support for HD video files from any version of the EOS Rebel cameras. Sample Workflow with the EOS Movie Plugin-E1: Once your CF or SD memory card is placed into a reader connected to your computer, follow the steps below to import footage using EOS Movie Plugin-E1: 1) In FCP, select File > Log and Transfer. The Log and Transfer window should pop up, showing thumbnails of all the media on the CF card in the left-hand column. 2) In the Log and Transfer window, select Preferences from the Action menu (the gear-shaped icon near the top of the window). 3) In the Import Preferences window, select 'Canon DSLR' as your Source, and then select the Transcode to format of your choice (such as ProRes 422). 4) Once your preference is selected, hit OK to go back to the Log and Transfer window. 5) Select the thumbnails to view clip(s) in the right-hand preview window and set in and out points, as needed. 6) Add reel names/numbers, scene data, and other notes in the Logging Area, as needed. 7) Drag-and-drop the clip(s), or press the Add Selection to Queue button or the Add Clip to Queue button (below the preview window) to move your media to the Transfer Queue area at the bottom-left. 8) From the Transfer Queue, all media is automatically imported and transcoded. The transcoded files will appear in the browser area of your project window, ready to go directly into the timeline. Availability: Canon’s plug-in software for Final Cut Pro is available for FREE download on Canon web sites around the world. Please follow this link to go directly to the Drivers and Downloads area for one of our EOS HD-DSLR cameras to download the plug-in. Be sure to select your operating system from the dropdown list (for example, Mac OS X) otherwise you may not see the full list of downloadable drivers, software, and firmware options. Click on the Software link, which will expand the list of available software downloads for that product. Lastly, find the file labeled: EOS MOVIE Plugin-E1 for Final Cut Pro Ver1.2 (File Name: ce1120x.dmg.zip), and click to download. Summary: In a short period of time, Canon’s engineers have shown a remarkable appreciation for the needs of critical video shooters and production people working with files from EOS digital SLRs. With the development (and subsequent upgrade) of EOS Movie Plug-in E1, customers who use Apple’s Final Cut Pro software, one of the world’s most dominant video-editing software applications, will have a streamlined path for selecting and editing files from EOS digital SLRs. The new plug-in will work seamlessly within Final Cut Pro, speeding workflow significantly and encouraging users who are shooting on deadlines to take advantage of the spectacular video quality of their EOS digital SLRs.
  13. Sophisticated high speed electronics allow ALEXA to record 15 minutes of ProRes 4444 or 20 minutes of ProRes 422 (HQ) as QuickTime files onto a 32GB SxS card that slots directly into both the camera and computers such as Apple’s MacBook Pro. By utilizing codecs used natively by Apple’s Final Cut Pro, ALEXA offers the most streamlined and cost effective workflow possible. To begin editing, the memory card simply needs to be removed from the camera and plugged into a laptop. It couldn’t be easier. Shoot > Edit workflows Several different recording and workflow options are possible within the Shoot > Edit concept developed for ALEXA. The workflow experts at ARRI Media will help you decide on and set up the best pipeline for your production. Straight on-line workflow The high performance of the Apple ProRes codecs gives productions utilizing an HD workflow the freedom to transfer final quality images from the camera into post faster than real time and begin editing without even leaving the set. Recording to SxS cards in such a ubiquitous format represents a tapeless, file-based pipeline that is simple, fast and effective. Off-line/on-line workflow Productions that choose the highest possible image quality by recording uncompressed HD or ARRIRAW still benefit from the efficiencies of the Shoot > Edit concept. The Apple QuickTime proxy allows rushes to be viewed and off-line editing to begin instantly; it shares the same timecode and metadata as the on-line files, and is created directly in the camera. For FCP, the workflow is pretty simple: 1. Copy the entire footage, including the index.xml file onto a hard drive (preferably a RAID or a very high speed/high performance drive) which is connected to the FCP. 2. Import the xml file into FCP. Use the File -> Import -> XML function for this. You should get a dialogue box asking for destination information. Specify your destination. 3. Now you should see a Bin in FCP with the camera name, and all clips under this. You can now start editing.
  14. Red Camera post workflows and required plugins are all here.
  15. ONSIGHT, production facilities from shoot to screen. As 3D pioneers, we’ve created an easy to use tool for 3D creative editing – OS 3D. Using Final Cut Pro, this plugin is designed to simplify the process of preparing and editing with 3D files. Our post production facilities manage a large amount of S3D rushes and have tried a number of approaches in dealing and managing files in a user friendly manner. OS 3D provides users with a intuitive way of working in 3D, be it with discrete left and right eye files or side by side, it allows you to make stereoscopic corrections and decisions during the editorial process. We now offer this plugin to not only help our Lab team, but you as well. It’s simple. You can download the OS 3D file for free as well as a comprehensive manual (right click and select 'Save link'). Please provide your contact details below to be redirected to the download page. Download it from here.
  16. Nick Shaw’s FCP 7 plugin for viewing ARRI ALEXA LogC as Rec.709 in the Final Cut Pro timeline, as well as batch processing dailies. NEW TO THE LINEUP are versions of the plugin for Canon C300 C-Log and Sony F3 S-LOG. Also available is a RED® version of the plugin for viewing REDlogFilm™ material as either REDgamma™, REDgamma2™ or REDgamma3™. The curves used in this plugin are also available as .mga LUT files for Apple Color and .cube files for DaVinci Resolve. For other LUT formats, please email. The full versions of the plugins include PDF manuals with workflow guidelines. There are also demo versions available, which have exactly the same functionality but place a red cross through the image and do not include the PDF manuals. Please download the demo prior to purchasing, to ensure the plugin is suitable for your needs. Download from here. Red Giant Software's Magic Bullet LUT Buddy 1.0 is available for free from here.
  17. Cineon/DPX Pro for MacOSX Allows MacOSX and any QuickTime enabled Application to work with Cineon or DPX Sequences directly. With this package, Finder becomes fully aware of these files. MacOSX services such as Spotlight, Thumbnail Previews, and basic QuickTime Playback is provided. The Cineon file format is a widely used digital film image format which was developed by Kodak for the Feature Film industry. The DPX digital image file format was developed by SMPTE and is used heavily in the Feature Film and High Definition broadcast industries for production. MORE Phantom Cine Toolkit for MacOSX Vision Research creates and manufactures high speed digital cameras that can capture imagery at several thousand frames a second. This Toolkit supports the Phantom V-series cameras from v7 through v640/710 and onwards. The Phantom Flex, Phantom HD and Phantom 65 are also supported. With this Toolkit, MacOSX and Applications will simply "work" with Vision Research Cine Movies. Support for the Finder, Spotlight, Previews, and basic QuickTime Playback is enabled. Other applications that are QuickTime aware, will also work with Phantom Cine Movie file format. MORE Séance - Phantom Camera Contol for MacOSX Séance has an intuitive interface which lets you operate your Phantom Camera or Cinestation quickly and efficiently. The User Interface elements clearly identify what is happening with your Cine files, so you can see "at a glance" what is happening . . . even from a distance. Features such as GPU Accelerated Graphics, Drag & Drop and Multi Processing are heavily used throughout the application to make your project's workflow easier, sophisticated and efficient. MORE ARRI Camera Toolkit for MacOSX The ARRI Camera Toolkit allows MacOSX and Applications to be fully compatible with ARRIRAW Sequences as well as LogC ProRes movies from the Alexa SxS Cards. With this Toolkit, Finder is fully aware of ARRIRAW files and includes support for Spotlight, Previews, and basic QuickTime Playback. Other applications that are QuickTime aware, will also work with ARRIRAW file format. LogC ProRes movies can be instantly converted to Rec 709 or DCI P3 colorspaces. White Points and Exposure Indices can be changed, on the fly, without any rendering. MORE ASC-CDL Toolkit for Final Cut Pro This is a Final Cut Pro/Motion filter plugin, to allow you to apply ASC-CDL color corrections to your project. Compatible with the ASC-CDL v1.2 XML specification, you can load corrections created on a wide range of devices and packages. This filter works with the ASC-CDL v1.0 "Slope, Offset and Power" RGB values as well as the ASC-CDL v1.2 "Saturation" value. Not only can you import the XML file, but you can alter these values by hand. MORE
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