Chromatic

Since its introduction six years ago, Apple Final Cut Pro X has only offered the Color Board as its color correction/grading tool. That’s in addition to some automatic correction features and stylized “look” effects. The Color Board interface is based on color swatches and puck sliders, instead of traditional color wheels, leaving many users pining for something else. To answer this need, several third-party, plug-in developers have created color corrector effects modules to fill the void. The newest of these is Chromatic from Coremelt – a veteran Final Cut plug-in developer.

The toolset

Chromatic is the most feature-rich color correction module currently available for FCPX. It offers four levels of color grading, including inside and/or outside of a mask, overall frame, and also a final output correction. When you first apply the Chromatic Grade effect to a clip, you’ll see controls appear within the FCPX inspector window. These are the final output adjustments. To access the full toolset, you need to click on the Grade icon, which launches a custom UI. Like other grading tools that require custom interfaces, Chromatic’s grading toolset opens as a floating window. This is necessitated by the FCPX architecture, which doesn’t give developers the ability to integrate custom interface panels, like you’ll find in Adobe applications. To work around this limitation, developers have come up with various ingenious solutions, including floating UI windows, HUDs (heads up displays), and viewer overlays. Chromatic uses all of these approaches.

The Chromatic toolset includes nine correction effects, which can be stacked in any order onto a clip. These include lift/gamma/gain sliders, lows/mids/highs color wheels, auto white balance, replace color, color balance/temperature/exposure/saturation, three types of curves (RGB, HSL, and Lab), and finally, color LUTs. As you use more tools on a clip, these will stack into the floating window like layers. Click on any of these tools within the window to access those specific controls. Drag tools up or down in this window to rearrange the order of operation of Chromatic’s color correction processes. The specific controls work and look a lot like similar functions within DaVinci Resolve. This is especially true of HSL Curves, where you can control Hue vs. Sat or Hue vs. Luma.

Masking with the power of Mocha

Corrections can be masked, in order to effect only specific regions of the image. If you select “overall”, then your correction will affect the entire image. But is you select “inside” or “outside” of the mask, then you can grade regions of the image independent of each other. Take, for example, a common, on-camera interview situation with a darkened face in front of a brightly exposed exterior window. Once you mask around the face, you can then apply different correction tools and values to the face, as opposed to the background window. Plus, you can still apply an overall grade to the image, as well as final output adjustment tweaks with the sliders in the inspector window. That’s a total of four processes, with a number of correction tools used in each process.

To provide masking, Coremelt has leveraged its other products, SliceX and TrackX. Chromatic uses the same licensed Mocha planar tracker for fast, excellent mask tracking. In our face example, should the talent move around within the frame, then simply use the tracker controls in the masking HUD to track the talent’s movement within the shot. Once tracked, the mask is locked onto the face.

Color look-up tables (LUTs)

When you purchase Chromatic, you’ll also get a LUT (color look-up table) browser and a default collection of looks. (More looks may be purchased from Coremelt.) The LUT browser is accessible within the grading window. I’m not a huge fan of LUTs, as these are most often a very subjective approach to a scene that simply doesn’t work with all footage equally well. All “bleach bypass” looks are not equal. Chromatic’s LUT browser also enables access to any other LUTs you might have installed on your system, regardless of where they came from, as long as they are in the .cube format.

LUTs get even more confusing with camera profiles, which are designed to expand flat-looking, log-encoded camera files into colorful Rec709 video. Under the best of circumstances these are mathematically correct LUTs developed by the camera manufacturer. These work as an inverse of the color transforms applied as the image is recorded. But in many cases, commonly available camera profile LUTs don’t come from the manufacturers themselves, but are actually reverse-engineered to function closely to the manufacturer’s own LUT. They will look good, but might not yield identical results to a true camera LUT.

In the case of FCPX, Apple has built in a number of licensed camera manufacturer LUTs for specific brands. These are usually auto-detected and applied to the footage without appearing as an effect in the inspector. So, for instance, with ARRI Alexa footage that was recorded as Log-C, FCPX automatically adds a LogC-to-Rec709 LUT. However, if you disable that and then subsequently add Chromatic’s LogC-to-Rec709 LUT, you’ll see quite a bit of difference in gamma levels. Apple actually uses two of these LUTs – a 2D and a 3D cube LUT. Current Alexa footage defaults to the 3D LUT, but if you change the inspector pulldown to the regular LogC LUT, you’ll see similar gamma levels to what Chromatic’s LUT shows. I’m not sure if the differences are because the LUT isn’t correct, or whether it’s an issue of where, within the color pipeline, the LUT is being inserted. My recommendation is to stick with the FCPX default camera profile LUTs and then use the Chromatic LUTs for creative looks.

In use

Chromatic is a 1.0 product and it’s not without some birthing issues. One that manifested itself is a clamping issue with 2013 Mac Pros. Apparently this depends on which model of AMD D-series GPU your machine has. On some machines with the D-500 chips, video will clamp at 0 and 100, regardless of whether or not clamping has been enabled in the plug-in. Coremelt is working on a fix, so contact them for support if you have this or other issues.

Overall, Chromatic is well-behaved as custom plug-ins go. Performance is good and rendering is fast. Remember that each tool you use on a clip is like adding an additional effects filters. Using all nine tools on a clip is like applying nine effects filters. Performance will depend on a lot of circumstances. For example, if you are working with 4K footage playing back from a fast NAS storage system, then it will take only a few applied tools before you start impacting performance. However, 1080p local media on a fast machine is much more forgiving, with very little performance impact during standard grading using a number of applied tools.

Coremelt has put a lot of work into Chromatic. To date, it’s the most comprehensive grading toolset available within Final Cut Pro X. It is like having a complete grading suite right inside of the Final Cut timeline. If you are serious about grading within the application and avoiding a roundtrip through DaVinci Resolve, then Chromatic is an essential plug-in tool to have.

©2017 Oliver Peters

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Spice with Templates

One way in which Apple’s Final Cut Pro X has altered editing styles is through the use of effects built as Motion templates, using the common engine shared with Apple Motion. There are a number of developers marketing effects templates, but the biggest batch can be found at the Fxfactory website. A regular development partner is idustrial Revolution, the brainchild of editor (and owner of FCP.co) Peter Wiggins. Wiggins offers a number of different effects packages, but the group marketed under the XEffects brand includes various templates that are designed to take the drudgery out of post, more so than just being eye-catching visual effects plug-ins.

XEffects includes several packages designed to be compatible with the look of certain styles of production, such as news, sports, and social media. These packages are only for FCP X and come with modifiable, preset moves, so you don’t have to build complex title and video moves through a lot of keyframe building. The latest is XEffects Viral Video, which is a set of moves, text, and banners that fit in with the style used today for trendy videos. The basic gist of these effects covers sliding or moving banners with titles and templates that have been created to conform to both 16:9 and square video projects. In addition, there are a set of plug-ins to create simple automatic moves on images, which is helpful in animating still photos. Naturally several title templates can be used together to create a stacked graphic design.

Another company addressing this market is Rampant Design Tools with a series of effects templates for both Apple Final Cut X and Adobe Premiere Pro CC. Their Premiere Pro templates include both effects presets and template projects. The effects presets can be imported into Premiere and become part of your arsenal of presets. For example, if you what to have text slide in from the side, blurred, and then resolve itself when it comes to rest – there’s a preset for that. Since these are presets, they are lightweight, as no extra media is involved.

The true templates are actually separate Premiere Pro template projects. Typically these are very complex, layered, and nested timelines that allow you to create very complex effects without the use of traditional plug-ins. These projects are designed to easily guide you where to place your video, so no real compositing knowledge is needed. Rampant has done the hard part for you. As with any Premiere Pro project, you can import the final effects sequence into your active project, so there’s no need to touch the template project itself. However, these template projects do include media and aren’t as lightweight as the presets, so be mindful of your available hard drive space.

For Final Cut Pro X, Rampant has done much the same, creating both a set of installable Motion template effects, like vignette or grain, as well as more complex FCP X Libraries designed for easy and automatic use. As with the Premiere products, some of these Libraries contain media and are larger than others, so be mindful of your space.

Both of these approaches offer new options in the effects market. These developers give you plug-in style effects without actually coding a specific plug-in. This makes for faster development and less concern that a host application version change will break the plug-in. As with any of these new breed of effects, the cost is much lower than in the past and effects can be purchase a la carte, which enables you to tailor your editor’s tool bag to your immediate needs.

©2017 Oliver Peters

CrumplePop and FxFactory

If you edit with Final Cut Pro – either the classic and/or new version – then you are familiar with two of its long-running plug-in developers. Namely, FxFactory (Noise Industries) and CrumplePop. Last year the two companies joined forced to bring the first audio plug-ins to the FxFactory plug-in platform. CrumplePop has since expanded its offerings through FxFactory to include a total of six audio and video products. These are AudioDenoise, EchoRemover, VideoDenoise, AutoWhiteBalance, EasyTracker, and BetterStabilizer.

Like much of the eclectic mix of products curated through FxFactory, the CrumplePop effects work on a mix of Apple and Adobe products (macOS only). You’ll have to check the info for each specific plug-in to make sure it works with your application needs. These are listed on the FxFactory site, however, this list isn’t always complete. For example, an effect that is listed for Premiere Pro may also work in After Effects or Audition (in the case of audio). While most are cross-application compatible, the EasyTracker effect only works in Final Cut Pro X. On the other hand, the audio filters work in the editing applications, but also Audition, Logic Pro X, and even GarageBand. As with all of the FxFactory effects, you can download a trial through the FxFactory application and see for yourself, whether or not to buy.

I’ve tested several of these effects and they are simple to apply and adjust. The controls are minimal, but simplicity doesn’t mean lack of power. Naturally, whenever you compare any given effect or filter from company A versus company B, you can never definitively say which is the best one. Some of these functions, like stabilization, are also available within the host application itself. Ultimately the best results are often dependent on the individual clip. In other words, results will be better with one tool or the other, depending on the challenges presented in any given clip. Regardless, the tools are easy to use and usually provide good results.

In my testing, a couple of the CrumplePop filters proved very useful to me. EchoRemover is a solid, go-to, “fix it” filter for location and studio interviews, voice overs, and other types of dialogue. Often those recordings have a touch of “boominess” to the sound, because of the room ambience. EchoRemover did the trick on my trouble clip. The default setting was a bit heavy-handed, but after a few tweaks, I had the clean track I was looking for.

EasyStabilizer is designed to tame shaky and handheld camera footage. There are several starting parameters to choose from, such as “handheld walking”, which determine the analysis to be done on the clip. One test shot had the camera operator with a DSLR moving around a group of people at a construction site in a semi-circle, which is a tough shot to stabilize. Comparing the results to the built-in tools didn’t leave any clear winner in my mind. Both results were good, but not without some, subtle motion artifacts.

I also tested EasyTracker, which is designed for only Final Cut Pro X. I presume that’s because Premiere Pro and After Effects already both offer good tracking. Or maybe there’s something in the apps that makes this effect harder to develop. In any case, EasyTracker gives you two methods: point and planar. Point tracking is ideal for when you want to pin an object to something that moves in the frame. Planar is designed for tracking flat objects, like inserting a screen into phone or monitor. When 3D is enabled, the pinned object will scale in size as the tracked object gets larger in the frame. UPDATE: I had posted earlier that the foreground video seemed to only work with static images, like graphic logos, but that was incorrect. The good folks at CrumplePop pointed me to one of their tutorials. The trick is that you first have to make a compound clip of the foreground clip and then it works fine with a moving foreground and background image.

Like other FxFactory effects, you only buy the filter you want, without a huge investment in a large plug-in package, where many of the options might go unused. It’s nice to see FxFactory add audio filters, which expands its versatility and usefulness within the greater Final Cut Pro X (and Premiere Pro) ecosystem.

©2017 Oliver Peters

Digital Anarchy Samurai Sharpen

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Editors often face the dilemma of dealing with less-than-perfect footage. Focus is the bane of this challenge, where you have the ideal shot, but the operator missed the optimal focus, leaving a useable, albeit soft, image. Editing and compositing apps offer a number of built-in and third-party sharpen and unsharp mask filters that can be employed as a fix. While you can’t really fix the focus issue, you can sharpen the image so that it is perceived by the viewer as being better in focus. All of these filters work on the concept of localized contrast. This means that any dark-to-light edge transition within the image is enhanced and contrast in that area is increased. The dark area is darkened and the brighter part enhanced. This creates a halo effect, which can become quite visible as you increase the amount of sharpening, but also quite obnoxious when you push the amount to its full range. A little bit improves the image – a lot creates an electric, stylized effect.

One of the better sharpening filters on the market is Digital Anarchy’s Samurai Sharpen, which is available for Apple Final Cut Pro X, Adobe Premiere Pro CC and After Effects CC. (According to their website, Avid and OpenFX plug-ins are in development and coming soon.) What makes Samurai Sharpen different is that it includes sophisticated masking in order to restrict the part of the image to be sharpened. For example, on a facial close-up, you can enhance the sharpness of eyes without also pushing the skin texture by an unflattering amount. Yet, you still have plenty of control to push the image into a “look”. For example, the photographic trend these days seems to be photos with an obvious over-sharpened look for dramatic appeal. If you want subtle or if you want to stylize the image, both are achievable with Samurai Sharpen.df0717_sam_2_sm

Click any of the example images to see an enlarged view. In these comparisons, pay attention to not only the eyes, but also lips and strands of hair, as these are also affected by sharpening. (Image courtesy of Blackmagic Design.)

df0717_sam_4_smThe effect controls are divided into three groups – Sharpen, Mask and Blend. The top three sharpen controls are similar to most other filters. Amount is self-explanatory, radius adjusts the size of the localized contrast halo, and edge mask strength controls the mask that determines what is or isn’t sharpened. The edge mask strength range markings might seem counter-intuitive, though. All the way to the left (0) means that you haven’t increased the mask strength, therefore, more of the image is being sharpened. In our facial close-up example, more texture (like the skin) and noise (background) would be sharpened. If you crank the slider all the way to the right (50), you have increased the mask strength, thus less of the image is being sharpened. For the face, this means the eyes and eyelashes are sharpened, but the skin stays smooth. The handy “show sharpening” toggle renders a quick hi-con image (mask) of the area being sharpened.

df0717_sam_3_smThe real power of Samurai Sharpen is in the Mask Group. You have two controls each for shadow and highlights, as well as an on/off toggle to enable shadow and/or highlight masking. These four sliders function like a curves control, enabling you to broaden or restrict the range of dark or light portions of the image that will be affected by the sharpening. Enabling and adjusting the shadow mask controls lets you eliminate darker background portions of the image from being sharpened. You don’t want these areas sharpened, because it would result in a noisier appearance. The mask can also be blurred in order to feather the fall-off between sharpened and unprocessed portions of the image. Finally, there’s a layer mask control in this group, which shows up a bit differently between the Adobe apps and FCPX. Essentially it allows you to use another source to define your sharpening mask.

df0717_sam_5_smThe last section is the Blend Group. This offers slider adjustments for the opacity of the shadow and highlight masks created in the Mask Group section. GPU acceleration results in an effect that is quick to apply and adjust, along with good playback performance.

While there are many free sharpening tools on the market, Digital Anarchy’s Samurai Sharpen is worth the extra for the quality and control it offers. Along with Beauty Box and Flicker Free, they offer a nice repertoire of image enhancement tools.

©2017 Oliver Peters

BorisFX BCC 10

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Boris Continuum Complete (BCC) by BorisFX is the epitome of the term “Swiss Army knife” when it comes to talking about plug-ins. Most editors will pick this package over others, if they can only have one toolkit to cover a diverse range of picture enhancements. In the past year, BorisFX has upgraded this toolkit with new effects, expanded to add more NLE hosts, and integrated mocha’s Academy Award-winning planar tracking technology after the acquisition of Imagineer Systems. This set of plug-ins is now up to version BCC10. BorisFX has not only added new effects to BCC10, but also expanded its licensing options to include multi-host and subscription options.

Since many users now work with several NLEs, multi-host licensing makes a lot of sense. One purchase with a single serial number covers the installation for each of the various applications. There are two multi-host license versions: one for Avid/Adobe/Apple/OFX and the second that doesn’t include Avid. OFX licensing covers the installation for Blackmagic Design DaVinci Resolve, as well as Sony Vegas Pro for PC users.

What’s new in BCC10

df3216_bcc10_10Boris Continuum Complete version 10 includes over 230 effects within 16 different categories, like 3D Objects, Art Looks, Particles, Perspective and more. Each effect comes with numerous presets for a total of over 2,500 presets in all. There are plenty of new tools in BCC10, but the biggest news is that each effect filter integrates mocha planar tracking. BorisFX has always included Pixel Chooser as a way of masking objects. Now each filter also lets you launch the mocha interface right from inside the plug-in’s effect control panel. For example, if you are applying skin smoothing to only your talent’s forehead using the new BCC Beauty Studio, simply launch mocha, create a mask for the forehead and track the talent’s movement within the shot. The mask and track are saved within the plug-in, so you can instantly see the results.

df3216_bcc10_05A second big change is the addition and integration of the FX Browser. Each plug-in effect lets you launch the FX Browser interface to display how each of the various presets for that effect would look when applied to the selected clip. You can preview the whole clip, not just a thumbnail. FX Browser is also a standalone effect that can be applied to the clip. When you use it that way, then all presets for all filters can be previewed. While FX Browser has been implemented in past versions in some of the hosts, this is the first time that it’s become an integrated part of the BCC package across all NLEs.

df3216_bcc10_02BCC10 includes two new “studio” tools, as well as a number of new individual effects. BCC Beauty Studio is a set of tools in a single filter targeted at image retouching, especially the skin texture of talent. Photographers retouch “glamor” shots to reduce or remove blemishes, so Photoshop-style retouching is almost expected these days. This is the digital video equivalent. As with most skin smoothing filters, BCC Beauty Studio uses skin keying algorithms to isolate skin colors. It then blurs skin texture, but also lets the editor adjust contrast, color correction, and even add a subtle glow to image highlights. Of course, as I mentioned above, mocha masking and tracking is integrated for the ultimate control in where and how the effect is applied.

The second new, complex filter is BCC Title Studio. This is an integrated 3D titling tool that can be used based on templates within the effects browser or by launching the separate Title Studio interface. Editors familiar with BorisFX products will recognize this titling interface as essentially Boris RED right inside of their NLE. Not only can you create titles, but also more advanced motion graphics. You can even import objects, EPS and image files for 3D effects, including the addition of materials and shading. As with other BorisFX tilting tools, you can animate text on and off the screen.

df3216_bcc10_03In addition to these two large plug-ins, BCC10 also gained nine new filters and transitions. These include BCC Remover (fills in missing pixels or removes objects using cloning) and BCC Drop-out Fixer (restores damaged footage). For the folks who have to deal with a lot of 4×3 content and vertical cell phone footage, there’s BCC Reframer. Unlike the usual approach where the same image is stretched and blurred behind the vertical shot, this filter includes options to stylize the foreground and background.

df3216_bcc10_11The trend these days is to embrace image “defects” as a creative effect, so two of the new filters are BCC Light Leaks and BCC Video Glitch. Each adds organic, distressed effects, like in-camera light contamination and corrupted digital video artifacts. To go along with this, there are also four new transitions, including a BCC Light Leaks Dissolve, Cross Glitch, Cross Zoom and Cross Melt. Of these, the light leaks, glitch and zoom transitions are about what you’d expect from the name, however, the melt transition seems rather unique. In addition to the underlying dissolve between two images, there are a variety of effects options that can be applied as part of this transition. Many of these are glass, plastic, prism or streak effects, which add an interesting twist to this style of transition.

In use

df3216_bcc10_04The new BCC10 package works within the established hosts much like it always has, so no surprises there. The Boris Continuum Complete package used to come bundled with Avid Media Composer, but unfortunately that’s no longer the case. Avid editors who want the full BCC set have to purchase it. As with most plug-ins, After Effects is generally the best host when adjustment and manipulation of effects are required.

df3216_bcc10_09A new NLE to consider is DaVinci Resolve. Many are testing the waters to see if Resolve could become their NLE of choice. Blackmagic Design introduced Resolve 12.5 with even more focus on its editing toolset, including new, built-in effect filters and transitions. In my testing, BCC10 works reasonably well with Resolve 12.5 once you get used to where the effects are. Resolve uses a modal design with editing and color correction split into separate modes or pages. BCC10 transition effects only show up in the OFX library of the edit page. For filter effects, which are applied to the whole clip, you have to go to the color page. During the color correction process you may add any filter effect, but it has to be applied to a node. If you apply more than one filter, you have to add a new node for each filter. With the initial release of BCC10, mocha did not work within Resolve. If you tried to launch it, a message came up that this functionality would be added at a later time. In May, BorisFX released BCC10.2, which included mocha for both Resolve 12.5 and Vegas Pro. To use the BCC10 effects with Resolve 12.5 you need the paid Studio version and not the free version of Resolve.

df3216_bcc10_07BorisFX BCC10 is definitely a solid update, with new features, mocha integration and better GPU-based performance. It runs best in After Effects CC, Premiere Pro CC and Avid Media Composer. The built-in effects tools are pretty good in After Effects, Final Cut Pro X and Resolve 12.5 – meaning you might get by without needing what BCC10 has to offer. On the other hand, they are unfortunately very mediocre in Premiere Pro or Media Composer. If one of those is your editing axe, then BCC10 becomes an essential purchase, if you want to improve the capabilities of your editing application. Regardless of which tool you use, BCC10 will give you more options to stretch your creativity.

df3216_bcc10_08On a related note, at IBC 2016 in Amsterdam, BorisFX announced the acquisition of GenArts. This means that the Sapphire effects are now housed under the BorisFX umbrella, which could make for some interesting bundling options in the future. As with their integration of mocha tracking into the BCC effects, future versions of BCC and/or Sapphire might also see a sharing of compatible technologies across these two effects families. Stay tuned.

Originally written for Digital Video magazine / Creative Planet Network

©2016 Oliver Peters

Adobe Premiere Pro CC Learning Tips

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Adobe Premiere Pro CC is the heir apparent editing application for many editors. In order to make your transition easier, I’ve compiled a series of links to various official and unofficial resources, including Adobe sites, forums, YouTube videos, training resources, and various blog posts. This list is by no means all that’s out there, but it should provide a great starting point to become more comfortable with Premiere Pro CC.

Adobe and Adobe-related training resources

Adobe tutorials

Adobe Premiere Pro tips

Maxim Jago’s tips at Lynda

Maxim Jago’s tips at Peachpit

Lynda’s Adobe Premiere Pro training

Ripple Training – Premiere Pro CC 2015

Adobe-related blogs and YouTube channels

Dave Helmly’s DAV Tech Table

Jason Levine’s YouTube channel

Colin Smith’s YouTube channel

Dave Helmly’s presentation at Orlando Post Pros meeting – 2015 (webcast)

Forums

Adobe Filmmaker stories

Adobe Premiere Pro Forum

Creative COW Premiere Pro forum

Premiere-centric sites and YouTube channels

Jarle Leirpoll’s Premiere Pro blog

Retooled

Premiere Bro

Best Premiere Pro Quick Tips YouTube Channel

Premiere Pro Tips YouTube channel

Blog posts

VashiVisuals – Deadpool Premiere Pro Presets

VashiVisuals – Keyboard Layouts

VashiVisuals – Music Video Editing Tips

VashiVisuals – Pancake Timeline

Jonny Elwyn – Premiere posts

Jonny Elwyn – Premiere Pro Tools and Tutorials

Jonny Elwyn – Tips and Tricks

Jonny Elwyn – Tips for Better Editing in Premiere Pro

Jonny Elwyn – Tutorials for Better Editing in Premiere Pro

Premium Beat – Beginner’s Guide to Premiere Pro Shortcuts

Premium Beat – Match Frame and Replace Edit

Premium Beat – How to Clean up Audio in Premiere Pro

Premium Beat – Creating a Storyboard Edit in Premiere Pro

Premium Beat – AVCHD Editing Workflow

Premium Beat – How to Organize a Feature Film Edit

Premium Beat – 3 Quick Tips for Editing in Premiere Pro

Premium Beat – Time-Saving Premiere Pro CC Tips

Derek Lieu – Simple Tricks for Faster Editing in Premiere Pro

No Film School – Premiere Pro Keyboard Shortcuts

Wipster – 4 Reasons Why Premiere Pro is a Great Choice

Wipster – Master the Media Browser

Plug-ins, add-ons, other

Kinetic type and layer effects by TypeMonkey for After Effects

Post Notes Premiere Pro control panel

PDFviewer Premiere Pro control panel

Frame.io integration

Wipster.io integration

Axle Video integration

LookLabs SpeedLooks

FxFactory plug-ins

RedGiant Software plug-ins

Boris FX plug-ins

DigitalFilms – SpeedGrade Looks

Jarle’s Premiere Pro Presets

Note : this information is also included on the Editing Resources page accessible from the header of this blog. Future updates will be made there.

©2016 Oliver Peters

Automatic Duck Xsend Motion

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When Apple transitioned its Final Cut Pro product family from Final Cut Studio to Final Cut Pro X, Motion 5, and Compressor 4, it lost a number of features that editors really liked. Some of these “missing” features show up as consistent and reoccurring requests on various wish lists. One of the most popular is the roundtrip function that sent Final Cut Pro “classic” timelines over to Motion for further compositing. To many, it seemed like Motion had become relegated to being a fancy development tool for FCPX plug-ins, rather than what it is – a powerful, GPU-enabled compositor.

df1516_AD_2At last, that workflow hole has been plugged, thanks to Automatic Duck. Last year the father/son development team brought us a way to go from Final Cut Pro X to Adobe’s After Effects by way of the Automatic Duck Ximport AE bridge. This week at the FCP Exchange Workshop in Las Vegas, Wes Plate reveals the new Automatic Duck Xsend Motion. This tool leverages the power of the FCPX’s version of XML to move data from one application to the other. Thanks to FCPXML, it provides a bridge to send FCPX timelines, clips, or sections of timelines over to Motion 5.

df1516_AD_4Xsend Motion reads FCPXML exports or is able to process projects directly from the Final Cut Pro X Share menu. The Xsend menu enables a number of settings options, including whether to bring clips into Motion as individual clips or as what Automatic Duck has dubbed as “lanes”. When clips are left individual, then each clip is assigned a layer in Motion for a composition made up of a series of cascading layers. If you opt for lanes, then the Motion layers stay grouped in a similar representation to the FCPX project timeline. This way primary and secondary storylines and connected clips are properly configured. Xsend also interprets compound clips.

Automatic Duck is striving to correctly interpret all of the FCPX characteristics, including frame sizes, rates, cropping, and more. Since Final Cut Pro X and Motion 5 are essentially built upon the same engine, the translation will correctly interpret most built-in effects. However, it may or may not interpret custom Motion templates that individual users have created. In addition, they plan on being able to properly translate many of the effects in the FxFactory portfolio, which typically install into both FCPX and Motion.

df1516_AD_3While Xsend Motion and Ximport AE are primarily one-way trips, there is a mechanism to send the finished result back to Final Cut Pro X from Motion 5. The first and most obvious is simply to render the Motion composition as a flattened QuickTime movie and import that back into FCPX as new media. However, you can also publish the Motion composition as an FCPX Generator. This would then show up in the Generators portion of the Effects Palette as a custom generator effect.

Automatic Duck Xsend Motion will be officially released later this year. The price hasn’t been announced yet. Current Automatic Duck products (Automatic Duck Ximport AE and Automatic Duck Media Copy) are available through Red Giant.

©2016 Oliver Peters