Apple Final Cut Studio 2

Apple Final Cut Studio 2

Motion 3. Of all of the applications in Studio 2, Motion takes the biggest leap forward. Thanks to several big, meaty new features, it can finally stand as a genuine alternative to Adobe After Effects, the 800-pound gorilla.

 

Motion now works in 3D, letting you position elements in 3D space, set up lights, and animate a camera through the world with behaviors or keyframes (imagine a camera slowly pushing in on a 2D photograph, but the elements in the photograph all seem to separate from each other in 3D space). You can set up 3D elements, lights, and cameras with a handful of menu choices, and we found the work in 3D more intuitive than in After Effects, because Motion let us change our 3D views while simultaneously giving us an inset view of what the camera is seeing. Another bonus: Motion’s particle systems and type elements can exist and even interact with behaviors in 3D.

 

 

Motion tracking is another big-ticket addition to Motion’s repertoire, letting you set multiple track points in a video clip, and then attach another object to those points so the two move in sync (for example, you might attach a billboard to the side of a moving bus, or a piece of text to someone as they run through a crowd).

 

New retiming behaviors let you slow down and speed up footage, which is something that Final Cut has done for years, but Motion’s take is vastly improved. First, it’s much easier to experiment with the retiming effects (just drag a few sliders around, instead of scrutinizing weird graphs). Secondly, Motion uses “optical flow technology” to create new and unique frames that make up the effect (translation: the effect just looks more natural, less doctored). Motion also includes several preset behaviors that let you quickly apply common retiming, like flash frames, hold frames, instant replays, strobes, and stutters.

 

And there’s more. Motion sports a paint system now, letting you pick from a vast array of brush styles and then animate paint strokes in infinitely customizable ways (although you can’t do precise frame-by-frame paint work for retouching). You can also design animated templates with drop zones for type and graphics (like a lower-third element featuring a person’s name and company logo), and then import that template into Final Cut. From Final Cut, you can reuse the element again and again, but conveniently change the drop-zoned text and graphics for each instance.

 

Motion is out of its awkward stage and ready for the real world. It doesn’t match After Effects feature for feature, but it can finally handle a good share of the motion graphics work you see on TV every day.

 

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benet

Were not smart, but also learn from others bald.omega watchesChing had no water to fish, one to the cheap is invincible.replica watchI left Dragon, White Tiger right shoulder tattooed Mickey Mouse.replica watchesEfforts should be made! ! For your Audi Dior me.cgfrt

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dance

That makes it much easier to edit the high-quality HD footage used in broadcast TV and film, without the pricey RAID storage systems and other add-on cards that high-end HD usually requires. Very helpfull.

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Anonymous

Sony hasn't finished the specs for blu-ray. How can Apple give support to a format that has no specs defined. And yes this also means that a blu-ray player bought today may not be able to reproduce certain features from tomorrow's discs...

I guess Apple is waiting for Sony to update blu-ray and to see who s going to win this war, by bet is with Blu- Ray but it is still too early to tell...

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