FxHome Ignite Express 2017 is first-of-its-kind, a collection of more than 90 professional-quality FREE plugins to drive your film edits into high gear. They are for Mac OSX 10.9+ and Windows 7+. 64-bit only.
Over 150 creative plugins to transform editors into visual effects toolkits.
Ignite Pro 2017 is a collection of over 150 creative plugins that can be used with your other software. Bring HitFilm Pro technology to other editors with powerful plugins including color correction and keying tools, light flares, particle effects and much more. Compatible with Adobe After Effects, Adobe Premiere, Apple Final Cut Pro X, Apple Motion, Sony Catalyst, Blackmagic Design DaVinci Resolve, The Foundry NUKE, Grass Valley EDIUS, Avid Media Composer and Vegas Pro 14.
Highlights of Ignite Pro
Wherever, whenever: Ignite fits into any workflow. Install the plugins on Mac or PC, to all hosts, on up to 3 computers. No arbitrary restrictions.
Professional keying: T he best chroma key in the business, with project-saving spill replacement for 100% realistic composites.
Atomic particles: Form-based particle system with fractal and audio-driven animation.
Light flares: The ultimate lens flare collection with streaks, highlights, leaks, artificial lens dirt and anamorphic artifacts.
Advanced effects inside your chosen editor: The Ignite plugins transform editors like Premiere Pro CC and Final Cut Pro X, turning them into powerful visual effects toolkits.
Colorist’s toolkit: Expand your color correction and grading potential.
All major hosts: Adobe After Effects, Adobe Premiere, Apple Final Cut Pro X, Apple Motion, Sony Catalyst, Blackmagic Design DaVinci Resolve, The Foundry NUKE, Grass Valley EDIUS, Avid Media Composer and Vegas Pro 14.
Also included with HitFilm Pro 2017: Ignite is available on its own or included with HitFilm Pro 2017.
In this course, Certified Trainer Ben Balser shares pro-tips to help you master multicam editing in FCP X. Ben gives you an overview of Multicam Clips, with some tips to improve playback performance, and how to sync clips automatically using audio.
Oliver Peters has some personal musings about the last 6 years in the life of Final Cut Pro X. Here’s an excerpt:
These six years have been a bit of a personal journey with Final Cut Pro X after a number of years with the “classic” version. I’ve been using FCPX since it first came out on commercials, corporate videos, shorts and even an independent feature film. It’s not my primary NLE most of the time, because my clients have largely moved to Adobe Premiere Pro CC and ask me to be compatible with them. My FCPX work tends to be mixed in and around my Premiere Pro editing gigs…
…I have to say that even after six years, Final Cut Pro X is still more of a crapshoot than any other editing tool that I’ve used. I love its organizing power and often start a job really liking it. However, the deeper I get into the job – and the larger the library becomes – and the more complex the sequences become – the more bogged down FCPX becomes. It’s also the most inconsistent across various Mac models. I’ve run it on older towers, new MacBook Pros, iMacs and 2013 Mac Pros. Of these experiences, the laptops seem to be the most optimized for FCPX.
Read Oliver Peters’ full article at DigitalFilms here.
It is easy to get caught up in all the amazing technology contained inside Final Cut Pro X. But, sometimes, it’s worth taking a step back to look at how to accomplish those simple tasks that we know are there – somewhere – if only we knew where to look.
That’s what this session is about. Simple tricks and pithy tips that can help you edit faster, and add some fun to your life. Areas we will look at include:
Editing and Trimming
Organizing and Replacing clips
Fixing audio problems
Simple color correction
Plus lots more as we get closer to the session. Registration is always free – sign up today.
This is an intermediate session for Final Cut Pro X editors, some experience with the software will help understand what is being covered. All you need to view this session is a web browser.
“Add quick stylization to your video projects with blending modes in Final Cut Pro X. Learn the technique with FREE stock footage and music from Shutterstock and PremiumBeat.
Using a video element with a blending mode is one of the fastest ways to add a custom look to your project. If you’re not already familiar with the term, a blending mode tells Final Cut Pro how to interpret the colors and luminance of a video layer. For example, the screen blending mode will completely remove black pixels in your video.
There are dozens of different blending modes in Final Cut Pro X that can affect your footage in different ways. Let’s check out a few of our favorites in a new tutorial.” – PremiumBeat
“Whiskey Tango Foxtrot is the new comedy war film from Paramount Studios starring Tina Fey. We asked director Glenn Ficarra, Editor Jan Kovac, Assistant Editor Kevin Bailey and Apprentice Editor Esther Sokolow how the film was made, what was different from Focus and of course how well Final Cut Pro X performed?
We think you know the answer already, but again their detailed workflow is well worth a read. Especially if you are going to cut your next Hollywood feature film on Final Cut Pro X!
Last year’s FCP.co’s two articles on Focus, the first major Hollywood studio film to be cut on FCPX, proved to be highly popular. So when we were asked if we would like to find out more about Whiskey Tango Foxtrot, the latest Tina Fey film from directors Glenn Ficarra and John Requa, we jumped at the chance. ” – fcp.co
Check out five essential Final Cut Pro audio editing tutorials that will help you increase your turnaround time!
Mixing and mastering audio is a challenge for a lot of professional videographers and filmmakers. But that doesn’t have to be the case, thanks to this handy roundup of essential Final Cut Pro audio editing tutorials.
In this clip, Larry Jordan takes us through the workflow of editing a project in Final Cut Pro X. He hits incredibly important topics such as audio techniques, settings, effects and working with music. This is really just a back-to-basics tutorial, which any professional needs every now and again.
This tutorial from professional video editor Ben Halsall goes over some essential tips for audio management in Final Cut Pro X. He goes over audio levels, mixing production music, and how to edit audio for techniques such as L cuts.
“Looking for free action elements for your video projects? Want HUNDREDS of free action elements? Well, you’re going to love this.
Whether you’re a video editor, VFX artist, or compositor, chances are you probably use elements on a regular basis. This is especially true if you are working on an action film. However, if you’ve done your research, you know that good action elements can be really expensive.” – Caleb Ward | Premium Beat
Increasingly, color grading is being handled by video editors working on laptops and desktops instead of calibrated displays. Here are some ways to make this reality work for you.
“Professional color grading applications have plummeted in price from six figures to zero. Meanwhile, accurate, grade-quality monitors have continued to remain expensive and out of reach. This bifurcation of technology has created a whole generation of people doing color work on video without the ability to evaluate the results on a properly calibrated display.
First off, a caveat: it is a much better experience to color grade in an environment suited for accuracy with a color-calibrated display. The problem with color is that it is so hard to do right, and so easy to really screw up.
If your pipeline includes finishing in a color suite with a skilled colorist, then stop reading now. If, however, you are part of the vast majority of people doing color work for video who are precisely NOT colorists, then this article will have some helpful tips to get you through to the finish line.
Increasingly, color correction and grading is being handled by editors on portables and desktops, creating content that will live on mobile phones and in someone’s Facebook feed. For most content, color doesn’t need to be perfect — it just has to be in the ballpark.” – Eric Escobar | Premium Beat