Links: 3D, Final Cut in odd places, Motion 5, 4K…

Links covering Final Cut Pro X 3D, Final Cut running on odd devices, Motion 5 animation, 4K, end credits …a Simon Ubsdell special.

3D competition

Last week I posted a link to some FxPlug test movies showing 3D model manipulation in Motion 5. This week it looks like motionVFX have upgraded their planned mExtrude plugin to do much more than extrude 2D text and logos.

This image shows a plugin working in Motion 5, it would take minutes to turn this into a plugin working in Final Cut Pro X:
https://twitter.com/motionVFX/status/374476152636579840/photo/1

Run Final Cut on your camera?

The problem some filmmakers have with DSLR rigs is that they are very unwieldy.

Here’s the tale of building a camera that pays homage to the revolutionary portable 16mm cameras of the 60s and 70s by incorporating a surprising ingredient:
http://blackbettycameras.com/building-betty-2/

Applifying Final Cut Pro X

With a subscription to Parallels Access, you can operate a copy of Final Cut Pro X on a remote Mac  using an iPad. Most reviewers say that it is better than previous remote access applications, but it is expensive – it is being sold as an $80 a year service instead of as a $25 iOS app.
http://www.youtube.com/watch?v=PFe3TxNUgYI

Motion 5 animation

One of the forgotten features of Adobe Flash are those that support character animation. Simon Ubsdell has put together a Motion 5 project that shows how to link parts of a character’s body using Motion behaviours. Linking these parts together means that if you move one part, the other parts follow the movement:
http://www.fcp.co/forum/6-motion-5/17803-motion-5-free-2d-character-rig-template

Simon also put together a tutorial to show how quickly Motion 5 can be used to create advanced particle effects.

To get this result:

Follow this tutorial:
http://www.youtube.com/watch?v=UiHUpQOcp9Y

4K vs. 2K – is it worth the extra cost?

With the NAB and IBC trade shows demonstrating that stereoscopic 3D hardware and software being supplanted by 4K, it is worth considering the following quote from David Cox:

My point about recommending 2K over 4K as a post production file format is that there is very, very little visual difference (if any at all) in a properly debayered and rescaled 4K RED image to 2K post work flow, than a 4K post work flow, but the difference in time taken and so the cost to the end client is quite dramatic.

I think it is more important to spend the clients money on what makes the end film significantly better rather than what might be mathematically better, but very hard to see (especially when you add in how and where the final film is viewed)”

…the second post on this archived forum discussion:
http://www.reduser.net/forum/archive/index.php/t-30549.html

How fast should end credits scroll?

John Eremic of the Endcrawl service has written about what Doug Trumbull’s experience working on 2001: A Space Odyssey taught him about how to design closing credit scrolls.
http://endcrawl.com/blog/doug-trumbull-movie-end-credits/

Free Final Cut Pro X plugin maker of the week

The conclusion of my Simon Ubsdell special points out his role as a plugin maker. He makes both free and commercial Final Cut Pro X plugins. When helping people on forums he is likely to quickly knock up a quick plugin to help people out.

Here is a playlist showing some of his plugins in action:
http://www.youtube.com/playlist?list=PLTJa1o34Oay-u721dp5QbEHSKgEX23tt2

Visit his commercial plugins site to see his more powerful effects and editing tools.