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Steve Martin
Steve Martin is the president and founder of Ripple Training. Steve has over 16 years of experience as an editor, producer and trainer. He has taught workshops at NAB, Macworld, DV Expo, and the American Film Institute. He is also a post-production consultant for Disney, Fox Sports and Canon to name a few, and is a lead instructor for Apple's Certified Training (ACT) program. 
Brian Gary
An award winning writer, producer and director, Brian Gary is founder and CEO of Flying Chaucer Films LLC of Los Angeles and Flying Chaucer Productions LLC in New Orleans. Under those shingles, Brian Gary has created a wide array of content for television, theatrical release and the Web. Accomplished editor rounds out his filmmaker's skill-set and he lectures nationwide as a certified Final Cut Pro instructor. 
Mark Spencer
Mark Spencer is a bay area-based producer, editor, teacher and writer. He runs a website dedicated to Motion users (www.applemotion.net). Mark is also an Apple-certified instructor teaching regularly at BAVC, Stanford University and MacWorld. Mark is the author of the Apple Pro Training Series book Motion Graphics and Effects in Final Cut Studio, contributing author of the APTS Motion book, and author of the Motion Visual Quickstart Guide, all from Peachpit Press. 
Andrew BalisAnrew Balis is a cinematographer, editor, post production consultant and Apple certified instructor teaching classes in Final Cut Pro to industry professionals at Moviola Education. He is the author of Ripple Training's Color Correction in Final Cut Pro and Color Grading in Color DVD-ROM. 
Motion 5: Top 5 New Features50 Ways To Pig Out on MotionCustom Shape Styles in MotionMacBreak Studio: Frenetic TextAfter Effects and Motion Share and CompareMastering Motion’s CameraCreating the “OK Go” Effect in MotionAdjustable Final Cut Pro Master TemplatesMotion Tip: Alpha Channels and OutlinesReversing Keyframes in MotionMotion and Motion Blur in FCPMotion and TransparencyColor Matching in MotionChanging the Color of LiveFonts in MotionReapplying Keyframes in MotionRipple Training Releases New Final Cut Pro and Motion TutorialsMotion 4 Up and Running Tutorial ReleasedNew Final Cut StudioBilly Fox and MotionUsing Motion for VFX on a Hollywood FeatureAnimating Text Highlights in MotionDesigner Templates for Final Cut StudioKeyframe Stretching in MotionGetting the Most out of MotionDon’t Forget Apple
June 2011November 2010August 2010July 2010June 2010March 2010February 2010January 2010December 2009September 2009July 2009April 2009March 2009February 2009November 2008October 2008September 2008August 2008July 2008June 2008May 2008Complete Archives |
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After Effects and Motion Share and CompareMacBreak Studio Special Episode
On this week’s MacBreak Studio, I host Steve Taylor - an LA-based motion graphics designer who’s tool of choice is After Effects. I thought it would be fun and interesting to compare how After Effects and Motion handle different motion graphics tasks and so this is the first of a series of “share and compare” sessions that looks at cameras and null objects in both After Effects and Motion. Enjoy. Click to audio / video »Mastering Motion’s CameraWorking with Angle of View
In this excerpt from Ripple Training’s newest tutorial Mastering Motion’s Camera, host Mark Spencer explains how to work with the camera’s Angle of View. Motion 4 - Using Angle of View (Movie) Page 1 of 1 pages Advertisement |
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After Effects and Motion Share and Compare
MacBreak Studio Special Episode
On this week’s MacBreak Studio, I host Steve Taylor - an LA-based motion graphics designer who’s tool of choice is After Effects. I thought it would be fun and interesting to compare how After Effects and Motion handle different motion graphics tasks and so this is the first of a series of “share and compare” sessions that looks at cameras and null objects in both After Effects and Motion. Enjoy.
Mastering Motion’s Camera
Working with Angle of View
In this excerpt from Ripple Training’s newest tutorial Mastering Motion’s Camera, host Mark Spencer explains how to work with the camera’s Angle of View.
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