Photo and video production and post-production.
Multiple cameras, multiple microphones. None starting and stopping at the same time. This is a common scenario for movie makers, and certainly for documentary shooters who are alone or with a very small team in the wild. NLEs (Non-Linear Editor) like Final Cut Pro X have synchronization features, but they’re basic at best. Singular Software’s PluralEyes did a great job at synchronizing even difficult projects. PluralEyes 3 does an even better job.
Creating a split screen in Final Cut Pro X is a matter of choosing the plug-in that you like the most but if you want the split screens to animate, there’s only one product: Tokyo Split Animator. This plug-in, developed by a film maker, is part of the FxFactory range of plug-ins.
The ColorKit Suite is a plug-in bundle targeting video colour grading. It includes colour grading presets and tools, grain settings, an Overlight bundle and a “Halflight” transition bundle. It’s a strong offering that allows for subtle to dramatic effects.
Question: What’s the most appealing difference between a typical fixed-lens video camera and a cinematographic model (or a dSLR, for that matter)? The answer must be: the shallow Depth of Field (DoF). The problem is price. A Sony NEX FS100 costs about 5,000.00 Euros without a lens. But wait a minute: while it’s not a 100% match, you can simulate shallow DoF in software.
Final Cut Pro X users are being bombarded with new effect plug-ins almost every week or so it seems. Many of these effects are OK and while none are really bad, there are some that are in a league of their own. SugarFx Punchline is nice but not exceptional.
Final Cut Pro X comes with a large bunch of transitions. We have reviewed a large number of transitions by Crumplepop, and now via Crumplepop SquidFX has released a new set of nice transitions for your footage: TransiMatic.
