![]() ![]() MotionVFX’s implementation of it is the easiest tracker I’ve ever used. In conjunction with brightness tracking it is very powerful and can give very realistic results. It utilizes the widely praised Mocha Pro planer tracker and works right in the FCP X or Motion interfaces. Using the smoothness and threshold sliders to fine tune it will give very nice smooth transitions to the flares.Įasily my favorite thing is the new tracker. It is now an option in the inspector and has a very helpful preview option to show your the luma matte it’ll be using. The previous version of mFlare had a form of brightness tracking but I found it’s uses limited without decent position tracking. The on screen position, size, and brightness controls are a nice addition too. You can of course save your own customized presets. There’s nearly endless combinations and controls for all the various flare types and elements. To customize a flare just click on edit and you can tweak to your heart’s content. The flare is replaced while maintaining all your settings and tracking info. You click on the “Presets” onscreen control button and click on a different one. Also a big improvement is that any changes in the external window are immediately reflected in the FCP X Viewer. ![]() While you still have a separate window for a lot of the changes many of the controls have been added to the inspector. I’m happy to say that along with a UI refresh that is familiar but better, all of those shortcomings have been addressed. Which isn’t great to be honest (please Apple do something about that). Tracking in Motion was limited to the strength of Motion 5′s point tracker. In FCP X there was no tracking option except manual. Switching out to a different flare was not as easy as it could be. This led to a edit>check>edit>check workflow. To edit the flare you had to open a separate interface outside your composition that didn’t update in the composition till you finished editing, so you couldn’t see the changes in relation to the image. There were some drawbacks though to the original. The level of control in crafting the flare in mFlare was always impressive to say the least. It all depends on the subject matter of course. Flares can easily be overdramatic and overused but with prudent use can enhance a drab shot. I’ve used it on a number of projects since though, including compositing into some still photos for some magic wand effects. I was sucked in by the pretty lights, haha. Just by applying our mLuts in your production you can get the cinematic look you searched for with minimal effort and maximum ease.MotionVFX recently released their long awaited updated to their excellent flare generator suite mFlare, aptly called mFlare 2.įunny enough I believe the original mFlare was the first plugin I ever bought, 6 years ago, after I saw this promo video. What is more, you can change presets, adjust them and customize the settings in real-time! You can also import your own. It doesn’t matter If you’re shooting your footage with a DSLR or professional cameras like Arri, RED, BlackMagic, Sony – our mLut grades will work on your shots perfectly. It converts the hue of each pixel into a counterpart from the source pattern. Free Download mLUT Blockbuster Pack – 30 Professional Cinematic Color Look-Up Tablesįor FCPX, AE CS6+, Premiere Pro CC+, Resolve, Media Composer, SpeedGrade CS6+, Motion, Nuke, Photoshop CS6+, Fusion 7 and many more…Ī color look-up table is a matrix of data containing information used to change an input range of colors into another one.
0 Comments
Leave a Reply. |