![]() There’s also a 3D LUT for the ARRI AMIRA. 709 LUT to the footage to get a better idea of how the final footage might look. If you’re editing Log footage from ARRI, Blackmagic Design, Canon or Sony cameras, you can now apply a standard Rec. New Library Panel media management features in Final Cut Pro X These changes, along with changes made in the previous release, make it much easier to manage project media in Final Cut. Optimized, proxy and rendered media can now be stored in locations outside the library, and you have the ability to delete these files from within Final Cut. Release 10.1.2 of Final Cut Pro X improves the handling of media files. Was this a coincidence, or did Apple time these two announcements so that pro video users – who have been skittish ever since the release of Final Cut Pro X – wouldn’t further panic? Apple isn’t going to tell us, but it’s fun to speculate. The same day Apple announced the discontinuation of their pro photo manipulation tool Aperture, they released updates to Final Cut Pro X, Motion and Compressor. ![]() Audition includes a 5.1 surround sound track panner and Prelude, the ingest management tool, has been expanded with the ability to create simple rough cuts that can be sent to Premiere. There’s a lot of other improvements to the tools in the Adobe suite. ![]() Green Screening has been further improved in After Effects and it’s now possible to export a 2K Digital Cinema Package (DCP) from both Premiere Pro and After Effects. When you import the template into Premiere you can set the value of the variable, so you can create custom lower-thirds and enter the text in Premiere rather than having to go back to After Effects. Interaction between After Effects and Premiere has been improved you can now create a template in After Effects with a text field declared as a variable. Adding an effects mask in Premiere Pro: Courtesy Adobe
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