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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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Stock Footage Options Continue To ExpandIt’s getting cheaper and easier to find stock footage for your project istockphoto.com used to be my primary source for inexpensive stock photography and video. But just this past week I’ve come across two new stock video competitors that provide some interesting alternatives.
Motion and the OoO, Part 2A Two-Part Motion Tip
In Part 1 of our exploration of Motion’s Order of Operations, or OoO (which you can find here), we looked at a situation where a drop shadow applied to a layer would rotate with the layer because transformations are calculated after effects. Today, we’ll look at another common issue that can arise when working with still images. more »The HD Survival HandbookPhilip Hodget’s Tome on All Things High Definition Philip Hodgets has released a PDF (download) handbook via his Pro Apps Tips website that basically covers everything a digital video artist needs to enter into the High Definition video world. more »Motion and the OoO, Part 1A Multi-part Motion Tip
The OoO? Some sort of secret society? Almost - OoO stands for Order of Operations, and if you’re not familiar how Motion calculates the changes you make to layers and groups, you might not get the results you want. Let’s take a closer look. more »Advertisement What Inspires You?Motion Graphics and Creative Inspiration
You are deep in the middle of a complex project, racing to beat a tight deadline, and you’re stuck. Where do you find that creative spark? For me, the last place in the world is in front of a computer. I find that when I’m sitting at the computer, it’s time for perspiration, not inspiration. In other words, if my idea is already at least partially formed, I can get busy executing and problem solving. But coming up with a new approach? Never happens in front of a screen for me. more »Great Motion GraphicsApple Does It Again - But Where Have I Seen This Before?
Apple’s new iTunes ad featuring Coldplay performing Viva la Vida is IMHO just outstanding. The work gets better and better. You can see a hi-def version of the ad here. They continue the general them of silhouettes of live actors on colorful backgrounds, but they reveal more features of the band, and the background is composed of richly saturated blues, cyans, purples and pink light shining through smoke, floating bokeh-like particles, and streaks that fly off the performers. The style and the way the background interacts with the band and the music is all just…yummy. But you know, I just felt like I’d seen it before….after looking at my Leopard desktop, I realized why:
By the way, there are already a couple of online tutorials on how to imitate the look in Photoshop: and here
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Could This Be The Card We’ve Been Waiting For?AMD Announces the HD 3870
Yesterday AMD announced a new graphics card, the ATI Radeon HD 3870, which they say they expect to ship by the end of June. For anyone who has bought a new Mac Pro recently and has been trying to optimize its performance, this comes as potentially very good news. The current upgrade that Apple sells, the GeForce 8800 GT, has not lived up to its performance potential, causing not a small bit of frustration for Motion users. As many of you know, Motion depends heavily on the GPU, rather then the CPU, for its real-time playback capability. Whether this new ATI card lives up to the press release time will tell, but the stats are impressive: 512MB of 256-bit GDDR4 frame buffer memory and 320 stream processors. It has two dual-link DVI interfaces, so you could drive 2 30” monitors (although that does split your VRAM and impacts Motion’s performance). It supports PCI Express 2.0 AND is backwards compatible with the PCI Express architecture that you may have if bought your Mac Pro before this year. Oh, and the best news? It’s slated to cost $219 - well under the $279 cost of the 8800. Check out more information on this card at barefeats.com - we’ll all be keeping a close eye on this one! Motion Quick Tip: Importing Illustrator and Photoshop FilesWorking With Fixed Resolution
When working with Motion, you’ll often import content that was created elsewhere. For example, Illustrator and Photoshop are two powerful applications for creating and manipulating images. They both work very well with Motion, but to get the best results, you need to know about setting in Motion that isn’t necessarily obvious or easy to find. more » Page 6 of 7 pages « First < 4 5 6 7 > 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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