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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
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Motion 5: Top 5 New FeaturesEverything has changed - and nothing has changed
The new Motion 5 has arrived - and here’s the funny thing: while it looks radically different, contains features that represent a completely new paradigm, and will change the way motion graphics are created - it is at the same time no different at all. How can that be? Read on for summary of what I consider the 5 biggest changes in Motion 5, and why they change everything - and nothing at all. more »
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50 Ways To Pig Out on MotionMacBreak Studio breaks 100 and Motion breaks 50 episodes
MacBreak Studio recently aired it’s 100th episode covering topics related to Final Cut Studio, production and post. And just this week, we hit our 50th Motion-specific episode. At about 10 minutes apiece, there are enough Motion tips and tricks to keep you full until the new year. To make them easier to digest, I’ve collect them all on one page which you can view here. Enjoy, but don’t over-do it! Custom Shape Styles in MotionThis week on MacBreak Studio
On this week’s episode of MacBreak Studio, host Brian Gary and I discuss the different uses for custom “shape styles” in Motion. Think of them as ways to create your own “brushes” that you can animate in a variety of ways. Great stuff. MacBreak Studio: Frenetic TextLearn how to use Motion to create this popular animated text effect
I talk with MacBreak Studio host Brian Gary about how to create a constantly evolving text animation effect. Click to audio / video »Advertisement 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) Creating the “OK Go” Effect in Motion
A quick look at how to create the look of one of OK Go’s videos. Click to audio / video »Adjustable Final Cut Pro Master TemplatesAn outstanding “hack” to make your Master Templates flexible
On this MacBreak Studio episode, I show Steve Martin a fantastic trick from fellow Motion Guru Patrick Sheffield’s new book How to Cheat in Motion that lets you adjust different parts of your Motion template - but directly inside Final Cut Pro. This is a great tip for anyone who works with Master Templates in Final Cut Pro. Click to audio / video »Page 1 of 7 pages 1 2 3 > Last » Advertisement |
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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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