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.Please watch the to get an idea of some of the looks acheivable. We recommend you refer to the for further details. Light Leaks is powered by FxFactory. System requirement FxFactory requires ATI, NVIDIA or Intel HD graphics.
A graphics card with at least 1GB of VRAM is highly recommended. Please install FxFactory 3.0.4 if your system is still running Mac OS X 10.6 Snow Leopard, Final Cut Express users should also download this version. For more infromation on compatiblity, please visit page. Premiere Pro users will require Premiere Pro 6.0 or above, FxFactory 4.0 or above and a Mac running OS X 10.8 or above. We recommend you download the for further details.
Compatible software: Final Cut Pro 7 and above, Motion 4 and above, Adobe After Effects 10 and above, Adobe Premiere Pro 6 and above. If you are an existing user of our Light Leaks Generator and have recently upgraded to FxFactory 4.0 then please re-download the generator by clicking the 'Trial Version' button. After installing it, re-enter your registration code to unlock it. Alternatively you can re-download from Noise Industries Store web page.
At the event at NAB in April, Tim Dashwood and I gave a presentation on working with VR 360° video in Final Cut Pro X and Motion. Initially I explained the art of spherical video from first principles comparing it to VR apps. I showed how editors can learn specialised tools that understand 'equirectangular' video, effects and graphic overlays to tell stories that play out all around you. I also explained how editors can share their work with millions of smartphone users around the world.
Tim Dashwood then gave a quick rundown of the science of high-end VR video effects that are available for Final Cut Pro X today. Is a series of free industry seminar days presented by and Dashwood and. Tuesday, 05 May 2015. Newly available for Final Cut Pro X users: a flexible timecode display window. It is for users of the FxFactory post production plugin management system. That manages custom plugins for Final Cut Pro X and other post production applications.
Because plugins cannot yet modify Final Cut's menu, you access the new Timecode window by right- or control-clicking the timecode display above the project timeline: The window always shows exactly what Final Cut's timecode display shows: You can resize the window by dragging the corners or edges. You can also choose what colours are used for the text and the window background: The colour controls include opacity: The examples shown in these screenshots include a background colour with an opacity of 33%. Timecode over full-screen video If you have two displays attached to your Mac, you can also overlay the timecode window on top of full-screen video: To do this. Drag the timecode window to your secondary display. Go to full screen mode on your primrary display using the 'View:Playback:Play Full Screen' command or use the Shift-Command-F keyboard shortcut. Drag the timecode window back over your primary display At the moment the window shows the same information as Final Cut's normal timecode display panel. X displays time project timecode when skimming in the timeline, clip timecode when the cursor is over a specific clip.
If you set the timecode display to show subframes in order to do sub-frame audio editing, the window doesn't yet show the same precision: In Final Cut Pro 7 and earlier, there was an option to overlay timecodes of all the clips in the timeline at the playhead. Since June 2011 Final Cut Pro X's information overlays have been simpler. Maybe the ProApps team are hoping that the need for editors to know so much about timecode will go away. On the other hand, they might be working on a much more configurable overlay system for a future version of Final Cut. Time will tell!
Timecode and FxFactory for Final Cut Pro X 10.2 and OS X Yosemite 10.10.2 and newer. Primordial metadata Timeline and clip timecode are an example of of a form of metadata that is over 100 years old. When films were shot with celluloid, editors had to manage film edge code - sometimes adding their own code to shot film to be able to manage every frame. Hopefully Apple will add features that will allow Final Cut users to view and edit any metadata in a floating window - including timecode. The kinds of metadata that would be useful in this case would be.
Timecode. Slate/Scene/Take. GPS-recorded location (co-ordinates / colloquial name of place). Keywords. Colour grade name.
Name of person who last made changes/changed metadata. Categories, Saturday, 06 December 2014. A common problem when moving Final Cut projects from Mac is that of missing plugins.
Even if the plugin is on both Macs, it works on one, but the project can't seem to find it on the other. A useful tool to aid in Final Cut Pro X detective work is Spherico's X-FX Handler application. If you find it useful, This email address is being protected from spambots. You need JavaScript enabled to view it. To find out how to donate some money to show your appreciation.
Export the problem Final Cut Pro X 10.1.X project as an XML file and open it with X-FX Handler. It will show a list of all the effects, transitions, titles and generators in the project: The listing shows where the project expects the find each plugin. The majority of problems occur when a plugin seems to be in the same place on the second machine, but isn't. This happens when two folders seem to have the same name. You might have two folders in the Finder named 'Transitions' - if you use the Get Info command in the Finder you might find one is named 'Transitions' and the other is 'Transitions.localized' For more information on how X-FX Handler works, use the Help menu to read the detailed manual.
It shows how although a plugin seems to be installed on both Macs, there are different places where the plugin might be - which means a project moving from one Mac to another might not recognise that the plugin is installed on the new machine:. Categories, Wednesday, 03 December 2014. For those iOS developers who want to provide more information to potential purchasers in the iOS app store, Apple suggest using video-based 'app previews.' Apple have provided who want to create app previews using iMovie 10.0.6 and Final Cut Pro X 10.1.3. New in OS X Yosemite is the ability to record what happens on an iOS 8 device attached to your Mac.
Here's an excerpt from Apple's instructions: Capture Screen Recordings with QuickTime Player. Connect your iOS device to your Mac using a Lightning cable. Open QuickTime Player.
Choose File New Movie Recording. In the window that appears, select your iOS device as the Camera and Microphone input source. Once you use the Record button, perform the actions on your iOS device that demonstrate the features of the app, you save the recording on your Mac. Final Cut Pro X app preview settings There's a for those new to Final Cut Pro on how to create new projects and which custom size to use for each app preview:. iPhone 5s, iPhone 5c, iPod touch 5th generation: 640 x 1136 for portrait, 1136 x 640 for landscape. iPhone 6: 750 x 1334 for portrait, 1334 x 750 for landscape. iPad Air, iPad 4th generation, iPad mini with Retina display: 900 x 1200 for portrait, 1200 x 900 for landscape.
iPhone 6 Plus 1080 x 1920 for portrait, 1920 x 1080 for landscape App previews must be set to a frame rate of 30p. 11 free titles As well as the short PDF guide Apple also provide (12.2MB ZIP) to provide useful information in overlays on top of screen recordings: The ZIP includes installation instructions. A new market? For writer/editors, creating iOS app previews might become a marketable skill: 'Sales for this app were low, but after using the services of AppPreview4D, everything changed!'
. Categories, Tuesday, 12 August 2014. Andreas Kiel, the XML expert who makes many has written a useful. Read this as a first step in understanding why even though you have two Macs with the same plugins installed, when you move a project from one computer to another you sometimes get the following image in your viewer: The plugin is on both Macs - what's the problem?
Part of the problem is that even though a plugin appears in the browser of both installations of Final Cut Pro X, if it isn't in the same place on the hard drive, Final Cut won't recognise a reference to a plugin saved on Mac A when opened on Mac B. As well as there being more than one place you can install plugins, the folder names that appear in the Finder may be different from the actual names of the folders. Projects use the real names of the folders - not the ones that appear in the Finder. That means that even if exactly the same 'My Cool Plugin' effect is stored in a different folder on Mac B, the fact that the Final Cut Pro project from Mac A is looking for it in the original folder will mean the effect will seem to be missing from the copy of Final Cut Pro running on Mac B. This seems very odd when you can see 'My Cool Plugin' appearing in exactly the same place in the effects browser in Final Cut on both Macs. Investigate the XML version of your project Andreas says XML can help a lot: template syncing. You can create a XML.
All assets and effects will be listed in the 'resource' part of the XML. So you can open the XML in TextWrangler (or something similar) and find the 'effect' entries and their paths (uids) manually. This is both time consuming, boring and not effective. That's why I made my X-FX Handler some time ago.
X-FX Handler shows listings of the plugins a Final Cut Pro X project uses. The includes a download link to the application installer. Visit to learn more about Motion templates (the way effect, title, transition and generator plugins are made available in Final Cut Pro X).
Monday, 14 July 2014. In some situations you'll get this message when you attempt create a transition between two clips in Final Cut Pro X: There are new extra frames after the end of the outgoing clip and frames before the start of the incoming clip for the transition to work with. This applies to compound clips and other kinds of media as well as video clips. There are many cases when you won't want Final Cut to ripple trim the clips and reduce the duration of the storyline you're editing.
An alternative is to use an Adjustment Layer to apply an effect to the end of the outgoing clip (or clips) and the start of the incoming clip, and to animate the effect's parameters so the effect is strongest at the first frame of the incoming clip: Download from my old plugins site. Footage from. Categories, Wednesday, 02 July 2014. Today Apple updated Final Cut Pro X to version 10.1.2. Red Giant have announced that they are changing the way editors, motion graphics designers and visual effects artists access their visual effects plugins.
Is a new free online community for Adobe Premiere Pro, Adobe After Effects, Apple Final Cut Pro X and Apple Motion users. Today it hosts in categories including Blur, Distort, Glow and Generators.
If you sign up for a Monthly or yearly subscription, you also get access to 19 premium plugins. The initial premium plugins are Universe versions of current Red Giant stand alone products. Launch tools include Knoll Light Factory EZ, Holomatrix, Retrograde, and ToonIt: Here are samples of Universe Chromatic Glow, Universe Glo Fi and Universe Prism Displacement: Red Giant say that they'll be regularly adding new free and premium plugins to Red Giant Universe. What makes Universe a community? Red Giant will use user feedback to determine their development priorities - which of their non-Universe plugins to convert and make available to premium subscribers, and what new features to add to current Universe plugins.
Unlike Adobe's Creative Cloud, as well as monthly premium ($10) and annual premium ($99) membership options, you can buy Red Giant out with a one-time lifetime subscription fee ($399). Not an Adobe-style migration Red Giant say that most of the plugins they've sold up until now aren't part of Universe. Their colour, keying and Trapcode are still available in the normal way. GPU Power Final Cut Pro X and Apple Motion users are used to the near real-time rendering speed of GPU-based plugins. Red Giant Universe brings that same power to Adobe Premiere Pro and Adobe After Effects users on OS X and Windows. The secret to Red Giant Universe is the 'Supernova' tool.
Luca Visual Fx Plugins Crack
This development system uses a javascript-like scripting language to access the Red Giant Universe Library; a collection of image processing libraries whose code is combined together to make cross-platform Universe plugins. As well as using the RG Universe Library to build new free and premium plugins as months go by, Red Giant say they'll also be adding new modules to the code library - so new plugins will have access to more advanced GPU code. No third-party plugins yet Sadly Supernova is only available to internal Red Giant developers for now. Supernova looks like an interesting alternative to the model used.
FxFactory as the basis of its multi-host app plugin development and distribution system. Many developers would probably be more comfortable using Red Giant's scripting language. An extra advantage is that Red Giant Universe plugins work with the Windows versions of Adobe Premiere Pro and Adobe After Effects.
Although Red Giant Supernova would be a powerful tool for third-party plugin development, FxFactory has many more years experience in dealing with promoting, selling and supporting third-party plugins. Although if I did sell plugins I would turn to FxFactory, the potential success of Red Giant Universe is good news for plugin developers. Adobe and Apple Red Giant Universe is also good news for Adobe as it might expand the availability of cross-OS plugins for their applications - at the moment there are more Premiere plugins for OS X then there are for Windows. Universe is also an endorsement of the Creative Cloud software subscription model.
In the case of Apple, Universe means more plugins for Final Cut Pro X and Motion 5. It might provide a little incentive for Apple concentrate a little more on making post production plugins better on OS X than on Windows. If such a comparison is important to Apple, they could produce a Motion 5-based plugin playback system that they could make available to OS X-based post production applications. Imagine implementing a plugin using Motion that could then be used in any AV Foundation-based application. This would help with transferring projects between QuickTime Player, iMovie, Final Cut Pro X, Adobe Premiere, Lightworks, Avid, DaVinci Resolve and Autodesk Smoke. Combining this with an Apple Post Production Tools Store would be a powerful proposition. Universe is now open for free membership, why not sign up and investigate the quality of the plugins?
First the first 30 days you get free access to the premium plugins. This could be the beginning of something big. Categories, Monday, 10 March 2014. In earlier decades many feature films relied on matte paintings to extend sets.
They locked off a film camera and filmed scenes though a pane of glass with a painting that was created to make smaller sets look like they were in much larger environments. In the second half of the 20th Century, optical printers were used to combine filmed footage of a painting with live action film. In recent years matte paintings are digital images that are stored and composited with live action footage using computers. Compositing software can detect camera moves in the live action footage and move the graphic file so that the graphics 'track' with elements in the footage. Up until recently tracking software to cost thousands of pounds and require expensive hardware to perform the necessary complex calculations.
Most recently it was only found in high-end compositing applications. Now Final Cut Pro X editors can use a new set of plugins to track objects and camera moves in their video clips to make overlaid graphics and text line up with video that has already been shot. Here is my sample video of what TrackX for Final Cut Pro X from Coremelt can do: TrackX greatly reduces the number of workflow stages and opens up motion tracking to editors. It combines great value with ease of use and convenience. For more information, more sample videos and a download of a 15 day free trial version,.
For a 84 minute webinar on many TrackX techniques, go to the. Disclosure: CoreMelt sent me a review unlock code for TrackX. Lucky for me as I was planning to buy it myself. I'd already bought their last year. Categories, Monday, 09 December 2013. If you want to add a large variety of technological style to your Final Cut Pro X projects, try.
The experienced motion graphics designers at Luca Visual FX have bundled together many plugins into a single pack that can make any short film, documentary, advert, TV drama or feature film look instantly more hi-tech. FxFactory Hi-Tech is downloaded, installed and activated using the free FxFactory plugin management system. Although FxFactory can download, install, activate and deactivate plugins for Final Cut Pro, Motion, Adobe Premiere and Adobe After Effects, this plugin pack only works with Final Cut Pro X. Once users of those other applications see Hi-Tech, many will feel they are missing out. Once you, you'll see many free and commercial plugin packs. Amongst them is Hi-Tech.
FxFactory can download a watermarked trial version: Downsides of the FxFactory system used to be that ts was a large download and that it added very many watermarked plugins in your NLE. The FxFactory installer is now a 69MB download, and you can use the application to turn off every plugin you don't want to see in Final Cut Pro. In recent years handy free plugins have been added to FxFactory - including that many editors would pay to use every day. You never know whose free plugins will appear in FxFactory next. Hi-Tech variety Hi-tech is divided up into groups of plugins in the effects browser: Displays, Fractals, Holograms, Lower Thirds, Sci-Fi Mographs and a bonus pair of Sports themed plugins.
Luca Visual FX designed for multiple effects from this pack to be used on the same clip. They can also be used to modify clips that can then be used to make source clips that appear as elements inside other effects.
Here's a video showing all 31 effects in action: The Lower Thirds are the most straightforward way of adding a hi-tech look to a documentary. Although these would normally be implemented as title generators, Luca have made these effects like all the other plugins in this pack. Each lower third can be radically customised in many ways. For example here are the controls for the Hi-tech Chemical Lower Third: The Fractals group of effects can be applied to any clip, but they also work well as elements that can be used within the hi-tech displays generated by other hi-tech filters. For example, a clip that has had the Script Factal effect applied to it can be put into a composition and that composition can then be used in a lower third - dropped in as a clip into one of the media wells (MEDIA 1 or MEDIA 2 in the controls for the Chemical lower third above).
As well as being able to change colours and detail settings, the Fractal group effects have on-screen controls to help editors precisely position elements to line up with clip features - as do the majority of the Hi-Tech effects. Most of the Holograms effects divide clips into multiple areas using glowing lines. Multiple instances of the Holographic Objects effect can be added to the same clip with different settings to show a variety of different animated holograms overlaid onto the same clip at the same time. Most of the Sci-Fi Mographs effects are more complex patterns that add hi-tech content that fills clips. The Planet Earth and Planetarium filters can be used as single elements applied to more complex displays. Whereas the Sci-Fri Mographs effects are designed to fill clips, the Displays effects seem to be designed to be overlaid on top of existing footage. Hi-Tech complexity I divide editing software plugins into two groups.
The first group are those that can be used in small ways on nearly every timeline. The second group is made of of those that can save a great deal of time on specific projects. Hi-Tech fits into the second group. Unless you only work on modern thrillers sci-fi movies or adverts for technology, you won't be using Hi-Tech every day. However, if you use some of the Hi-Tech plugins on one timeline, the time you save will immediately justify the purchase price. A big decision when designing plugins is how much control to give busy editors. Some want to be able to adjust every possible element of an effect - others want to apply an effect and not be daunted by a long list of controls that can't fit in the effect inspector without scrolling.
The Hi-Tech plugins provide very many controls - but editors in a hurry shouldn't worry: the default settings work very well. Those sitting next to impatient directors can quickly apply an effect and move on to solving the next problem.
If there's more time later, they can go back and tweak the effect settings. An example of clever defaults is that Luca have already populated media wells with interesting content. This means that for each effect to look good, editors don't have to drop hi-tech clips into each well. For example, a specific animated logo can be added to the MEDIA 1 well in any of the lower third filters, but if no logo is available, there is relevant hi-tech content already in place. Hi-Tech conclusion is a plugin pack that makes complex well-designed motion graphics quick and straightforward to apply to Final Cut Pro X projects. For those who need flexibility, once applied each effect provides all the controls anyone could want.
With this pack editors can concentrate on being editors, while editors with motion graphics inclinations will be very satisfied by the power available to them from within Final Cut Pro X. For those wary of installing, take another look - smaller installer sizes and better plugin activation control are welcome changes you might not know about. Categories, Monday, 02 December 2013. Featured an interview with me. It was a wide-ranging conversation on plugins, Final Cut Pro X, Avid, Adobe and what it means to be an editor.