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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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The Future of Visual EffectsAutomatic matte extraction, touchup and rig removal?
Some very smart folks in the University of Washington’s Computer Science department are cooking up some pretty amazing procedures that could well revolutionize the process of creating visual effects. more »Remove the JittersLearn the ins and outs of Final Cut Pro’s SmoothCam filter
Remove unwanted camera movements from your shots using technology inherited from Apples’ Shake. Click to audio / video »Graphic Design from PoetryInteractive Graphic Design with Words
Held every year in Bremen, Germany, Poetry on the Road is an international literature festival. The theme for the festival in 2007 and 2008 was designed by Boris Müller, a professor at the Interface Design programme of the University of Applied Sciences Potsdam, using software that generates a graphic design based on words. There’s an interactive demonstrator that lets you enter your own words to generate designs - quite interesting. Check out the viewer for 2008 here and for 2007 here. Match Frame Speed ChangesChange clip speed without changing clip duration
Have you ever wanted to change the speed of a clip and have it not effect the clip and sequence durations? In this short lesson, Steve will show you how to change the speed of your clips using a little-known command called “Match Frame Source File”. Click to audio / video »Advertisement In the SpotlightEmphasize your subject using this classic effect.
Learn how to call attention to an individual in a photograph, illuminate text in a book, or emphasize an item on the screen for a training demo. At Ripple Training we use this technique every day to call attention to specific areas of the screen. You’ll even see it used in this video! Click to audio / video » Find Your VoiceRecording & Editing Multi-take Voice Overs in Soundtrack Pro
In this excerpt from Ripple Training’s “Sound Editing & Mastering in Soundtrack Pro” Steve will show you how fast, fluid and fun it is to edit voice overs in Soundtrack Pro using the Multitake Editor. Color Workflows With Different Video FormatsGetting Video In and Out of Color
One of the most confusing issues that comes up frequently with new users of Color is how to get in and out of Color with different types of video formats. Therefore, the purpose of this article is to clear up the confusion by presenting the four main workflows Color can utilize, as well as how each format can be handled by Color. This article relates to users of Color version 1.0.2 or later. We’ll look at how to handle video formats captured via capture card, as well as how to work with “native” formats captured via FireWire such as DV, DVCPRO 50, DVCPRO HD and HDV. more »Photoshop & MotionTwo Great Tastes That Taste Great Together
Here’s a free video tutorial that shows you how to quickly create an engaging animation by arranging the layers of a Photoshop file in 3D space in Motion, and then flying a camera through them. To see it, click here.
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2D Footage with a Stereo 3D Rig in After Effects CS5.5
Edit and Optimize 2D Stereo Pairs from a 3D Video Camera or Twin Cameras with a Modified Stereo 3D Rig in After Effects CS5.5
Adobe included a 1-step option to create a 3D Stereo Camera Rig in After Effects CS5.5, to everyone’s enthusiasm for a simpler workflow in 3D space. Great if you are working in 3D space in After Effects, but what about an easy option for 3D Stereo pairs captured by a 3D camera or twin cameras on a rig? In this tutorial I’ll show you how to quickly modify the Stereo 3D Rig in After Effects to quickly mux your L&R video files and adjust the convergence for anaglyph, interlaced or stereo pairs output.
How to get the “24p” look for your live-switched multicam shoot
A contracted article, sponsored by Datavideo Corporation.
Our friends at Datavideo recently asked me to write an article called How to get the “24p” look for your live-switched multicam shoot. The article covers many factors involved in accomplishing that goal, including framerate, aperture, shutter speed, depth of field, and menu settings in Datavideo’s digital HD video mixers (“switchers”) and recorders, and also the menu settings in several pro cameras from Canon, Panasonic, and Sony. The included chart explains which of the cameras have a direct HD-SDI output, and which require an optional converter to go from HDMI to HD-SDI to connect to the Datavideo digital HD video mixer. As you’ll see in the article, the approach is quite different from the workflows I normally cover, which are more appropriate when programs are to be edited, as opposed to when they are shot —and potentially broadcast— live. The graphics for this article were done by Victory Elliot of Datavideo Corporation.
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