Toolfarm Japan Hawaiki Keyer V3 For Mac

• Toolfarm Japan Hawaiki Keyer V3 For Mac Mac
• Toolfarm Japan Hawaiki Keyer V3 For Mac
• Toolfarm Japan Hawaiki Keyer V3 For Mac Pro

Mac OS X 10.11 El Capitan. Primatte Keyer. Red Giant Psunami. Red Giant PlaneSpace. Red Giant ToonIt. Red Giant Text Anarchy. Red Giant Universe. PluralEyes 4. Digieffects APT Bundle v3 （デジエフェクト エーピーティー バンドル v3.

Updates What's new in Hawaiki 4.5? Screen Clean A sophisticated screen correction function that intelligently analyses the green or blue screen backing to remove defects and create an even screen, making most keys a lot easier to pull. What's new in Hawaiki 3.0 Update - Overview Objectives - For Hawaiki Keyer 3.0 (HK3), we went back and had a close look at our previous versions and realised that even though the core tech worked really well and produced great results, there was still more guesswork involved than we'd have liked - a problem common to many keyers and which can often be frustrating for users. So while we've refined the core algorithms and added some exciting new features, including the unique and extremely powerful Pre-Qualify option, the focus of this release has been about giving you the tools to reduce the guesswork so you can not only pull a better key but finish the job much faster. We've aimed to achieve this in a few different ways - by removing, reordering and renaming existing parameters, by providing more refined control of existing processes and by adding new and unique views that show both what you need to do and what you've done. Improved matte extraction - Hawaiki Keyer has always been outstanding for the quality of its matte extraction, but with HK3 we've gone even further. Not only have we tweaked the keying algorithm for improved performance, we've also added a whole new set of options for 'pre-qualifying' the image prior to the matte extraction process.

This means that it's even easier than ever to compensate for unevenly-lit green screens and restore foreground detail that is heavily contaminated with the background colour. With Pre-Qualify, we think you're going to be getting keying results as good as the very best keyers can offer - or perhaps even better. Improved diagnostic tools - Hawaiki Keyer has led the way in tools that help you analyse your image to get the best possible key and spill suppression, but with HK3 we've sought to expand on that very considerably. The new and unique Pre-Qualify, RGB Max and Luma Map views help take the guesswork out of pulling a really great key.

The new Spill Map and Spill Map Overlay views give you much improved analysis of the spill suppression process. Our aim has been to reduce the guesswork and make it much easier for you to get exceptional results, exceptionally quickly and easily, and you won't find these tools in any other keyer on the market. White Balance - We've also introduced a new white balance feature that uses Hawaiki's state-of-the-art AutoGrade technology for really outstanding results. If your green screen footage is heavily biased towards a particular colour, it can sometimes be difficult to pull a key. With the new white balance option, you can neutralise any colour bias in the backing colour and/or correct the foreground image for a much more pleasing result.

Other improvements - Among numerous improvements and enhancements, we've improved the density tools, the matte refine tools, the Despill operation, the Light Wrap process, the Edge process, the Edge Blend process, and the Denoise process, as well as adding two new Auto options to the matte auto process. In addition, we've sought to streamline the toolset and simplify the way that it is presented to make Hawaiki Keyer easier to use and more understandable than ever before. Hawaiki Keyer 3 Tutorial What's New in v3.0: Feature list. View Modes: New Swap option (with additional dropdown menu) for quick comparison of any two views; New views include RGB Max, Pre-Qualify, Luma Map, Edge Blend and Spill Map Overlay, as well as improved versions of Analysis and Spill Map. Auto Target & Auto Edge: New Auto Target control to adjust the target density of the Auto process; new Auto Edge option helps maintain lighter foreground detail. Refined Screen Density Controls: Knee controls for High & Low Density for greater accuracy and enhanced edge quality. Pre-Qualify: New Pre-Qualify section intelligently targets foreground and background RGB balance for very high levels of matte refinement.

Black and White Clip Knees: New Black and White Clip knee controls allow for much more precise targeting of clip operations. White Balance: New White Balance section uses Hawaiki's state-of-the-art white balance technology (from AutoGrade) to allow you to white balance either the foreground image or the matte process or both, with the choice of balancing from a white (grey value) pick or a skin tone pick. Edge: Revamped Edge processing: Edge Transparency now uses the main edge matte, as does the new Edge Blur, so both can be qualified with a gradient.

Edge Blend algorithm has been updated to produce a smoother blend. Denoise: Improved Denoise options with Low, Medium and High settings. Despill: New Auto Luminance and Auto Saturation options. Light Wrap: Enhanced Light Wrap module with a choice of blend modes.

In Oliver Peters gives you an overview from the perspective of an editor on 2 recent commercials. Oliver also links to the recent outline of RED post production paths by RED's Ted Schilowitz,. Ted demonstrated in a movie posted last October on MacVideo. For a bit of a reality check, see Matthew Jeppsen's.

Similar tips were by posted last week by Mark Christiansen in; more RED info can be found through. Update: There's a thread on Oliver's article on. Update 2: Mark Christiansen has another tip, for when colors are not quite right working natively with QuickTime files linked to R3D files.

Metadata and metrics may be the talk of the town but 'discovery' (search results) seems important when housewives can't find shows and times using digital cable and the web. Maybe Google will make even more in ad money from the confusion. Debra Kaufman at Studio Daily has a report from the recent Future of Television conference in Hollywood. Here's an excerpt from her: 'At the in Hollywood, a group of panelists debated the global opportunities and challenges of distributing and monetizing online video.Online video has become a huge commodity, and these experts discussed the obstacles they currently face to make it bigger than ever. Metrics and metadata were two of the most talked-about issues. The moderator pointed out that metadata also has its complications. “If you buy something in the US, my metadata will be in English but it might have to go to a German audience,” he said.

“How do I cope with this complexity in international distribution?” Metz said that “as an entertainment metadata company, Macrovision has been researching how to take metadata, prioritize markets and translate.” She revealed that the company is already partnering with a provider in Japan, but she notes that key to the issue is starting with quality data. “At the end of the day, the data without the guide is irrelevant,” she said. “We’re looking at how you look ahead to what the market needs worldwide and create enough depth to facilitate search and discovery.”' Additional perspectives can be found in an AEP post, and in. Bo Johansen of Denmark has released, a free AE filter for Windows. It's 'simple effect plug-in(8/16 bit) that enables you to remove spill from red, green or blue backgrounds. I think the result looks better than the standard spill suppressor included with After Effects.

For more advanced control this plugin is able to create an alpha matte, based on the areas where spill is detected. Using that matte f.inst. As a track matte, you can replace the spill with the contents of another layer.' He's also released a 32-bit capable cross-platform version in Pixel Bender format for AE & Photoshop CS4,. He cautions that the PB version is less user-friendly than native AE filters (every parameter is a number/slider) and slower except in 32-bit.via the The DV Rebel's Guide.

Particles seem to be in the air. Will finally release an After Effects version of particleIllusion, which they'll show at NAB 2009.

Also showing at NAB is version 2 of, which is the current particle system of choice for AE users. Studio Daily posted a video by Harry Frank on, where he 'demonstrates how to get around the particle orientation limitation in Trapcode Particular wherein particles always face the camera. Using camera trickery and expression magic you can see the particles at an angle.'

It's hard to tell if this is another part of Frank's bundle. Anyway, Studio Daily has 2 more video demos on Particular from that training set on Layer Grid Emitters and Advanced Physics.

And if you can't get enough of particles, check out at AETUTS and the recent lovely additions to the (see picture above). Update: In Aharon Rabinowitz uses Particular to show 'you a technique for placing layers inside the middle of a particle system - crucial to truly integrating your CGI effects with your live action footage or motion graphics.' A 2007 AEP post, mentioned XTreme Reality 3D, 'a piece of software that works with your webcam to let you control applications and games with your hand in real space.' It turns out that others were working on similar controls for TVs, according to NewTeeVee in. Here's an excerpt: 'We write a lot about how the world of content available through your television set is undergoing a dramatic change. But the changes happening to your TV aren’t just what’s on or how it gets there, but also the way you interact with your TV set.

Forget remote controls and buttons when you’ve got hands to change the channel and adjust the volume. We’ve been following this for a while and recently sat down with Softkinetic to get a demo of their solution.' Here's a few demonstrations of the trend: Update: via a blog without comments, adds another example, but doesn't seem to acknowledge other reports or previous examples. Cisco recently bought the San Francisco company that produces the Flip camera for $590 million. But Lost Remote notes - 20 percent! At Capria.TV, Frank Capria was quick to see, perhaps because he works for Avid, which own Pinnacle and its line of consumer video products.

He pointed out that Flip has easy editing and sharing software to match it's easy-to-use hardware: 'As GigaOm noted, it can eliminate the computer. Shoot, push to the cloud, and edit on the cloud. What Polaroid did for photography 50-some years ago, Cisco can do for videography. It can make it instant, inexpensive, and fun.

Cameras preloaded with editing software will be a minor disruption to business as usual. Editing on the cloud is where this is all going, and the industry will be turned on its head.' Perhaps, but like Adobe Remix and others faded since the excitement of a few years ago. In any case, the Flip Video camcorder records or 'captures' video in MPEG-4 advanced simple profile format, saved as an AVI file. Flip includes the to work with the AVI files in QuickTime.

The Flip Video program uses a starter version of for its automatic stylizing 'movie mixing,' and this feature so far is not on the Mac. Of course, Cisco/Flip will have competition from smart phones and still cameras that do video. GigaOm and have background; here's on on Cisco's buy: 'If Cisco can integrate or transfer the dead-simple Flip software and camcorder into its Scientific Atlanta boxes, and tie the Flip camcorder to its Linksys router, it can offer PC-free telepresence to consumers. This combines Cisco’s hope of with its love of video conferencing.

Telepresence, even more than the 2 million Flip cameras out there shooting short videos, would drive the amount of video content on networks sky high. Cisco estimates that a and requires quality of service guarantees — both of which Cisco equipment could help ensure. Cisco has already indicated its plans to with a focus on video, and it has launched products around the what it calls the “medianet,” to deliver video from the content provider to the consumer.

Driving content in the other direction — from the user back up to a content provider — also makes sense, and the Flip cameras offer Cisco control of the consumer video-producing endpoint.' Update: Part of the cloud is, which should help with editing and search results, as noted by Contentinople in Update 2: In case you wonder what like Adobe Remix were still around, Lonnie discusses a few in. Via, the blog has a post with thorough tips for doing live streaming video using Mogulus; see. The post includes reasons why they used Mogulus over Ustream; for more see at. Still unanswered is?

And now, there's an added question of how much of this will be from mobile phones - see this AEP note from last August,. Tips sometimes help me shove off free tech support requests from friends. Here's a one that helped: Strobist's. Update: P Diddy adopted live video with as a way to drive his audience, according to. Also, has 'signed Oracle, Duke, Sun, UC Berkeley and Sling as customers for its paid white-label live video service, called, which,' according to. Liz Gannes continues, 'The company is also adding mobile broadcasting capabilities, which it to consumer users a few weeks ago.

While many broadcasters might be interested in white-label mobile broadcasting, at this point the Ustream/Watershed service is limited to high-end Nokia handsets. Competitors in the consumer space like have moved onto other platforms, such as and.'

Update: Promotional notes in comments are fine, but they should address specifics in the particular post and link to web pages of specific concern. Mark Christiansen, fresh off a preso on, provides the latest intel on RED starting points in. Mark summarizes: 'If there’s one key take-away from this article, it’s this: for the vast majority of projects, preserving full 4K (or even 3K) data is not your main goal; you will find the greatest success by converting to a format that keeps only what you need.'

If you have not been reading carefully, you may have missed that 'the RED camera records 12-bit images, so a 16 bit linear TIFF or 10-bit log DPX has more than enough headroom to handle the image data at a fraction of the R3D size.' Note: Adam Wilt has some advice for using large files like RED format in.

Previous RED news items and links are. Chris Meyer explains the new corrected pixel aspect ratios in After Effects CS4 and how you can deal with some of their ramifications in the, a free video in the Lynda.com series. But some people have problems with the new CS4 pixel aspect ratio (PAR) when working with other video systems and apps. If you can't live with the new PARs, there are undocumented and unsupported workarounds to:. add custom PARs. disable the automatic interpretation of PAR.

add anti-aliasing to pixel aspect ratio corrected comps First, via, you can add custom PAR to the popups (pictured above) in Interpret Footage and Compositions Settings using interpretation rules. Here's example text to add to the file 'interpretation rules.txt' that adds custom CS3 NTSC and PAL 601-SD PARs to the list in CS4: # adds custom pixel aspect ratio to the PAR popup for CS3 PAR 0, 0, 0, '0000',. = 648/720/'D1/DV NTSC (CS3)',.,.,.,.,. 0, 0, 0, '0000',. = 768/720/'D1/DV PAL (CS3)',.,.,.,.,. You can find the 'interpretation rules.txt' file here:. On Windows: C: Program Files Adobe Adobe After Effects CS4 Support Files Next, Chris and Trish Meyer have already explained how to flip a switch in the Preferences to disable the automatic interpretation and allow you to continue to work with the old PARs in CS4.

This will still leave you with a command to Upgrade Pixel Aspect Ratios (under the File menu when you follow their instructions). Finally, in, Chris Meyer expands on the Lynda.com explanation, and shows you the secret text preference which enables high quality PAR correction in After Effects (with a performance hit). The script by Lloyd Alvarez works with the new multi-processing system in CS4, and also exposes the hidden preference that allows you to set the quality of the Toggle Pixel Aspect Correction button in the Comp View (After Effects needs to be restarted after changing the PAR quality). Additional info and background on pixel aspect ratios can be had in these resources:.

Adobe AE Help page has the basic rundown with always refreshed resources in. The new PAR scheme is also explained in Chris and Trish Meyer's free CS4 upgrade chapter for Creating Motion Graphics owners. See the summary at PVC,. Mike Afford, who did graphics at the BBC, has put together his own explanation for PAL users, with diagrams and as little mathematics as possible:., who with Chris Meyer interpreted the tech dirt for regular users even before Apple stopped developing eWorld, has all sorts of material on videosyncracies. A with bumps them up in awareness, but it's an that really lets Delve explain how they see the semantic web, metadata, and video will work: That interview is good background to understand the early March Adobe & Time-Warner announcement of 'a strategic alliance to foster collaboration on the development of next generation video and rich media experiences.' In the below, Adobe's Jennifer Taylor explains the alliance, mentioning planned collaboration on implementing Adobe's video ecosystem ('from planning to playback') and on digital rights management, metadata & search, and audience measurement & monetization. And on his blog fleshed out some aspects of the announcement that seemed a bit vague.

It seems that DRM is wanted before HBO rolls out The Sopranos, The Wire, and Entourage, etc. There's not much for regular users from Google or Adobe on this front quite yet, though you can find a Delve example of speech metadata exposed in. If you want to understand Adobe's video metadata pipeline, Dan Ebberts' recently posted an article at Adobe that nicely steps you through current metadata and speech features, (see that article's comments for alternative method for After Effects).

There's more background on metadata in. Update: Contentinople notes that 'Video metadata management firm is signing up media customers by enabling them to chop up, mix and match, and create interactive video mashups. QuickKicks allows users to view video feeds from each game - broken down into categories such as game highlights, goals, and saves - and will include specific player highlights from each team.

The site also includes the ability for users to create their custom playlists and share those playlists with friends. While the ability to create video mashups isn't particularly new, Gotuit has taken a novel approach to the feature, by enabling content companies to use metadata to define where video clips start and stop. In other words, rather than editing the full-length video of a soccer match into multiple smaller video files, Gotuit works by allowing content owners to create 'clips' by marking start and end points within the larger video file. The publisher can then identify what's happening in those clips with certain pre-defined metadata tags, for easy search and discoverability'. (Stu Maschwitz, who proposed a format in 2007): '@ Tom Hogarty Adobe’s Lightroom Product Manager mentions in this interview that Lightroom might get some kind of video support: ' Let's hope the Lightroom team talks to video/film people seriously, and borrows from the ease-of-use of Magic Bullet Looks and from others for secondaries and such, or at least bathes a bit with The Art and Technique of Digital Color Correction. And someday we may also see something like Lightroom's Develop Module in After Effects.

Is the latest video training from Toolfarm's Expert Series. It takes you through pulling tight and clean keys with Keylight in After Effects and shows you how to overcome problem areas like wispy hair and textures on edges. There's also tricks for making composites believable and a greenscreen shot and background plate, for $39. An excerpt reminds me of some of Matt Silverman's methods for developing mattes procedurally in the now defunct Commotion. And available soon is by Jeremy Hanke and Michele Yamazaki.

Harry Franks says, 'If you are looking to get started with greenscreen production as a hobbyist or a professional, this book has everything you’ll need to hit the ground running. If you are a motion designer and visual effects artist with little exposure to the “other world” of production, including cameras and lighting, you’ll want to grab this book for a great primer on the subject.' For flavor, see also an earlier article by earlier article by Michele Yamazaki. More on keying can be found in the recent AEP post. Lynda.com just released, a short video tutorial set by Trish and Chris Meyer: 'Projecting one 3D layer onto another is useful for creating film and video projections as well as stained glass effects. In After Effects: Light Transmission, instructor Chris Meyer demonstrates the required steps, including mastering shadows and the Light Transmission parameter.

He teaches numerous tips and tricks for building 3D worlds (including using seamless tiles), grouping together layers and lights, softening or sharpening projections, and using 'negative light' to remove unwanted light leaks from a scene. ' If you don't have a Lynda.com subscription, for a free 7-day pass. This set appears to be the funner video counterpart to a text-based tutorial at Artbeats mentioned in the recent post. Update: Lynda.com is also carrying, which tackles 'volumetric lighting effects, such as light rays and glows, which are susceptible to two common problems: They can look too synthetic, and they are prone to banding when compressed for DVDs and the web.Chris Meyer shows how to make light look more realistic by adding dust or swirling smoke, creating natural imperfections that help with compression. He demonstrates how to do this using stock footage of this natural phenomenon or the After Effects Fractal Noise and Turbulent Noise effects.' The advocacy for 64-bit OS installs continues with a new. Todd Kopriva the paper and adds this and more for AE users: 'The trick to making maximum use of the RAM in your computer with After Effects is to set the Memory & Multiprocessing preferences, including Render Multiple Frames Simultaneously.'

Paying $300 just for a 64-bit OS doesn't make that much sense, but investing in a new machine might, even if CS5 is nowhere in sight. A Gateway quad-core with Vista 64-bit, 8 GB RAM, an nVideo GT120 with 1GB, and an HDTV tuner with Media Center DVR is less than $800 at stores (recently $900 with 22' screen). That's half the price for just the same CPU performance as a new iMac according to.

Those prices should come down further as the Intel Core i7 and DDR3 memory take over on both platforms, along with the release of both Apple Snow Leopard and Windows 7 this year. In any case newer hardware and software platforms should be reasonably stable by the time CS5 ships. Performance and Production Premium can be found in previous posts. Also, the SF Cutters' is featuring a talk by Adobe Systems' Simon Hayhurst & on '64-bit optimization in Adobe CS4.' Via, a, is DuDuF IK Tools for After Effects, a free script that does (IK). The script is from, a website in French. Says it seems pretty decent, and that you can even add bones to puppet pins.

For specifics see the. Update: from Charles Bordenave has a good number of expressions and scripts (English package download and French), and he even has a script to help you.

It translates expression controls names in the language of the running version (supports English, French, German, Italian and Spanish). The Adobe Beginner Classes (project file) and from Dennis Radeke show you how to extrude text into 3D in After Effects.

Dennis credits Danny Princz and for this refinement of the old duped layers on Z-axis technique. Previous posts and discussed other tutorials that extrude layers into 3D without 3rd party filters like,. Yet another option is Photoshop 3D text extruded with bevels beyond Illustrator, like Zax, with.Here's the Adobe tutorials (full size at AdobeTV; starts at 5:00 & ): Update: Harry Frank posted a free to create 3D extruded text in his video tutorial. The is on March 17th at Adobe in San Francisco. RSVP is required; seating is limited so this event will sell out.

Full details and registration can be found. Doors open at 6:30; arrive early for refreshments.

Presentations include: Kim Salyer & team: Beijing Olympics Adidas Spiral Theatre, Coca Cola Pavilion: 'How Blackmagic Design makes the vital connections - a basic 101 - what cards and devices to use, what different workflows require.' Frank Colin of Sneak Preview: 'New Service for Monetizing Content on Any Website' Adobe Systems' Simon Hayhurst &: '64-bit optimization in Adobe CS4.' CS4 Production Premium has been partially re-architected for 64-bit operating systems to use large memory more effectively (up to 20GB of memory for Premiere Pro alone, up to 64GB of memory for a large Production Premium workflow).

Benefits include:. Faster editing performance in Premiere Pro, especially when working with high resolution files. Better multi-core rendering and longer RAM previews in After Effects. Run multiple Production Premium components simultaneously, and leverage new integration like Dynamic Link to move content between them. Projects can scale further in resolution and complexity, taking advantage of the additional available memory. Raffle prizes for the event (you must be present) include a copy of Production Premium donated by Adobe. Alex Lindsay has his at PVC, which begins to show you the benefit of using video scopes to get a good key and maximize dynamic range.

Other helpful resources include:. Jonas Hummelstrand's. Mark Christiansen's chapter in, which covers the Keylight filter in After Effects and much beyond. A small portion of his info was released in book teasers, and a.

Chris Meyer's quick overview of Keylight on Adobe Video Workshop that gets right to the point. has nice succinct overview and tips. Amidst other advice Adam Wilt says use Chroma Smoothing in Final Cut, as quoted in an AEP post.

's explanations of AE's Color Difference Keyer (a sample from the Composite Toolkit) will feed your head and help you understand some of what goes on behind the scenes in keying filters. Purely personal observations include: 1) for some reason converting to uncompressed picture formats can help you better key some compressed formats, and 2) under a deadline duplicating a layer with a-bit-too-aggressive key on hair can help give the hair some extra blending detail. While Creative COW's and shows you how to remove using After Effects, Lloyd Alvarez at AETUTS helps you keep 'em separated with Shift Channels in. A few days earlier Maltaannon blogged about his work on a wrapper for a Pixel Bender experiment he did that would help in - and Forging Fire posted an AEP so you wouldn't have to wait.

It uses the Shift Channels filter of course. Also, it seems like might make quick work of a task like this. And literature on filters like Tinderbox 2 Lens, Magic Bullet Looks, and Panopticon Lens all say they work with this effect (none were tested here).

Update: Satya Meka has a new free AE filter for this; see. Is a free online font generator that lets you make an OpenType font (Mac, Win, Linux) from your own handwriting. Fonts generated by can be further improved with the associated. Update: There's also, a free font-building tool by FontShop that lets you create fonts constructed out of geometrical shapes arranged in a grid pattern, like tiles or bricks. FontStruct then generates TrueType fonts for Mac or Windows. Update 2: via is, a possibly useful website that shows a phrase of your choosing in the popular typefaces you have on your computer. Announced two new products, mocha for After Effects version 2, and a new plug-in, mocha shape for After Effects.

Toolfarm Japan Hawaiki Keyer V3 For Mac Mac

Mocha for After Effects v2 adds:. Exports any resolution, per point variable edge width roto shape data in the mocha shape format;. Allows users to export tracking data as After Effects CornerPin with motion blur;. Is compatible with Adobe After Effects CS3 and CS4.

For visual ingestion, they have quick intro videos for. Update: Ben Heusner of Curious Turtle details the workflow for removing an actor in After Effects with roto and mocha shape plug-ins for After Effects. Is hosting a video tutorial from training DVD '.' In 'Form Face' Maltaannon creates a push pin toy effect as seen in the Radiohead “House of Cards” video using Trapcode’s Form plug-in - which is being promoted with a sale.

While is cool and deep, a poor man might approximate this effect by finessing built-in AE filters, easier said than done with (with Brighten Twist) and some tinting & maybe displacement. On another tangent Toolfarm has a nice older tutorial by Harry Frank called ' that uses Ball Action and other Cycore plug-ins. Update 1: is available. Update 2: from India's Festival of Colors. Last month saw, now and have guides to watching TV online in the US, while and also leverage more worldly resources. According to the blog: has posted a comprehensive list of the third party websites (free and pay-for) that stream TV online in. Not included in the list are the network sites that stream their own shows.

Toolfarm Japan Hawaiki Keyer V3 For Mac

You can find that list on a Gizmodo Guide called. Both of the above lists are accessible to US viewers only. European and Asian viewers watch TV online on video sharing sites because the networks and third party websites are still working out international copyright agreements. The best link-site by far is.

Toolfarm Japan Hawaiki Keyer V3 For Mac Pro

Update: Along with hundreds of others, has yet another list, and also references a video. For more on DVRs, see at Wikipedia. Update: All Things Digital has some related info in.