8/30/2023 0 Comments Imovie vs final cut pro![]() ![]() I’ll post an update to this blog once I’ve tried it myself. There is a software plugin from The Foundry that does a great job of reducing rolling shutter / skew very efficiently (using After Effects or Nuke), but it’s $500 and therefore clearly way out of budget for many DSLR shooters.īe sure to check out Macworld’s review of iMovie ’11, they already posted this clip with some uncorrected footage suffering from the rolling shutter effect, followed by the corrected version. I haven’t tried it yet, but will do so shortly and will try to correct the T2i/550D rolling shutter clip from above. Therefore the results vary depending on the kind of footage. The rolling shutter fix apparently is a purely mathematical solution for this problem and doesn’t need to re-analyze the footage. I have demonstrated the rolling shutter effect of the Canon T2i/550D in an – admittedly extreme – clip: Yeah, I finally get to the point of the post (sorry, I always save the best for last!), which is apparently a rolling shutter fix for footage that was acquired with cameras sporting a CMOS sensor (that means virtually all modern video camcorders and especially all the DSLRs – check out my blog post on the problems with DSLRs for a definition of “rolling shutter” aka “skew” aka “CMOS wobble”). Organizing this stuff is a huge pain to me and having an auto-shot-size-selector would save even more time than a People Finder.Ĭheck out this demo of iMovie ’11 and features like People Finder during the “Back to the Mac” special event – jump to 00:29:39 to go directly to the iMovie ’11 introduction! As you certainly know, especially in narrative projects, the same scenes are often shot in different shot sizes to give the editor and director more choices in post-production. People Finder doesn’t stop there, though – iMovie is obviously able to differentiate between full shots, medium shots and close-ups, and THAT is seriously a massive time-safer. That might not sound like a big deal, but having something like that would seriously help save time when logging and organizing clips before you actually start to edit – and pre-selecting clips in a huge project is the work I really don’t like to do. I’ll just talk about these two features, although there is much more to the new version (but the rest is mostly irrelevant for pro’s, though the automatic movie trailer edit presets might be fun as a joke).įirst off, there’s the People Finder, which identifies clips that contain people. To make a long story short, they introduced great features that would make a hell of a lot of sense in Final Cut Studio too. But enough on that, don’t get me started!!Īnyway, you might be wondering why I’m talking about iMovie here, which is by no means a professional programme. It is however frustrating to be a professional Mac user these days as Apple makes more and more money with their iPhones, iPads & iDontknowwhat, while neglecting development on an ever-aging Final Cut Studio suite (the last update was a joke). I really don’t want to talk iMovie down – it’s amazing how they are able to include more and more complex editing functions in such a little and easy-to-use programme, and one of the first editing programmes I used was iMovie 1.0 on my iMac DV Special Edition, still running on the awful Mac OS 9. Part of the iLife ’11 package is of course iMovie ’11, a revamped version of Apple’s amateur movie editing tool. At first sight, it was a rather insignificant event for us professional filmmakers, with a preview of the new Mac OS X Lion (which is taking a lot of its new features from iOS), some new MacBook Airs and the introduction of iLife ’11. Batch lists of the cuts were then imported into Final Cut Pro.You’ve probably heard about the amazing-wonderful-phenomenal Apple “Back to the Mac” event that took place on October 21st. This approach was also used to create the master off-line cut. ![]() One of the challenges with this movie is that the editors had to manually assign time-codes to each take - the clips were then rendered out and sorted so that they could be used on a Final Cut Pro SD workstation. Final Cut Pro allowed the filmmakers to line up the animatics with the live onstage footage. Critically it was well received but didn't set the box office alight.Įditing on the movie was by Sabrina Plisco.įinal Cut Pro was particularly critical to create a scene between two characters that was shot in a physical set (unlike the digital soundstage that was used for the rest of the movie). ![]() With big name stars (Gwyneth Paltrow and Jude Law), this was an unusual film that used digital artists to build multi-layered 2D and 3D backgrounds for live action footage, with hand-drawn storyboards recreated as computer-generated 3D animatics. Sky Captain and the World of Tomorrow (2004) ![]()
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