![]() ![]() It also grants you the same capabilities Apple had when generating its Final Cut presets. The ability to “publish” certain parameters when exporting filters, generators, titles, and transitions back to Final Cut Pro X gives you live manipulation of these elements in Final Cut without re-rendering, or switching to Motion. Users of previous versions will likely find everything within a couple of minutes, and Motion has never been more usable on a lower-resolution laptop display. Motion’s transformation, though, is far less radical aesthetic adjustments aside, it mainly serves to consolidate settings into panes. On the compositing side, Apple has added greatly improved chroma keying.įinally, as with FCP X, Motion 5 has also gotten a shiny interface remake. With Final Cut integration, it’s possible to produce transitions, titles, and generators that editors can reuse in Final Cut, especially useful for producing consistent in-house templates. You can combine parameters into rigs to consolidate live control of your compositions, and then publish those controls to smart templates and FCP X. You can now take advantage of resolution independence-ideal for targeting multiple formats. More visible are other subtle but significant enhancements to functionality and control. These changes cover the whole tool, from plug-ins to effects to rendering. As with FCP X and Compressor 4, there’s also support for ColorSync color management, and a shared render engine. ![]() The engine, now rewritten in Cocoa, incorporates OpenCL support for accelerating computation on compatible graphics cards, 64-bit architecture for optimized computation and access to greater memory resources, and support for Grand Central Dispatch multithreading technologies-all of which combine to help you squeeze the most out of your available hardware. Motion, like FCP X, includes changes both visible and under-the-hood. ![]()
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