Nattress Film Effects for FCP HD

There are so many filters, so many settings. I am converting DV from a Sony 3 chip camera into FCP HD, for home movies using DVD Studio pro. All I want are the simplest settings to get a film look, with proper deinterlacing, and one could spend a lifetime playing with all the filters, and their settings. Can someone please afford me the courtesy as to which filter & settings to use for my project ?? Any and all help is appreciated in advance, thanks,
rick

Do you know if it's worth the $50 extra for the tutorials which only
come in the box version?
there is no boxed version
there is only one version sold from either directly nattress.com or authorized resellers
if you are seeing someone offer a "boxed set" please email Graeme and ask him if it is "legit"
as for tutorials there are full documentation included with the plugin as well as you can ask here and Graeme (the developer) hangs out here and will help (as will others)
DAVE

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Nattress Film Effects (lots of nerdy detail)

Hello all.
Firstly, I use Final Cut Express 3.5, and not FCP. HOWEVER, I've read many times that the FCP forum is a much better place to post questions about Nattress Film Effects, due to the fact that there are MANY more users here. So, here goes:
I edited a music video last year using Film Effects in FCE 3.5. It came out great, considering the (admittedly lowly) level of miniDV cams we used. Film Effects made a HUGE difference. Awesome. Best $99 a fellow ever spent, and I mean it (we even got onto TV).
BUT... During the process, I encountered a major problem, and I'm quite sure that my work flow was the culprit. I basically had the entire thing cut and sequenced just the way I wanted, then dragged the Nattress effects where I needed them (to clips in various sequences, using different filters and so forth). With nearly EVERY cut, the filter "turned off" a frame before the cut, giving it an unbearably "sloppy" appearance.
i.e. I shot of a man singing on the street. CUT TO: Woman in Bedroom, reading love letters. I make that cut with no prior adjustments to the image. THEN I add a "G Film Basic Cool" to the man, and a "G Film Basic Warm" to the girl. Presto. Sloppy, sloppy cut between the two. The last frame of the dude and the first frame of the girl: both without the effect, causing a bad cut. With synced vocals, I can't "cheat" by tossing just those frames.
The workaround, I found, was to extend the clip either above or below the adjoining one (so that it overlapped), add the filter, and THEN cut. VERY tedious, considering how many seperate cuts were in the vid. Although, it would still be tedious to render overly-long clips and then widdle them down (especially since the point of a NLE application is to be flexible).
Am I totally missing the point of what the workflow really ought to be? Becasue what Film Effects actually DID to the footage (far from the cut) was truly great. I must be missing something.
Sorry for the overly long email. I'm trying to do my homework ahead of time on this one!
Thanks,
Chris H.

The good news is that the answer is simple. It's all to do with the order you apply plugins. Because FilmEffects plays with time to get the 24p effect, it needs to know about frames both before and after the current one. That means it needs to know about the frame beyond the end of your clip, for instance. Now, filters generally apply to just the in through out points, and don't apply to the frames beyond, so if you do a colour correction filter, then add the 24p from Film Effects, the last frame can be made up from a frame that doesn't have the colour correction applied!
The simple solution is to ensure than any filter that alters time, like the 24p from Film Effects comes first in the stack. If it's not first, a simple re-arrangement of order can fix the issue.
Not only does this ensure things work right, but you'll get faster rendering too!
Graeme

Looking for Wedding Special Effects for FCP!!!

Hi guys,
Help me out here! Can someone tell me where I can find wedding effects/ plugins and transitions for FCP.
I have seen things like firework plugins on tv or flowers making the transitions and so forth.
I looking for something similar or better.
Thanks a bunch in advance everyone,
Zia

Hi Dave,
I am reffering to stuff like Digital Juice Toolkit7 Wedding Tools II.
I am also looking for plugins or matte like Sparkles, Flowers, Fireworks and others to work as animated mattes on top of a clip.
Thanks,
Zia

Frame, transition and other effects for FCP

hi forum....
I'm still waiting for my Version 5 upgrade, and was wondering if there are any cool frame, transition or other effects out there that anyone can recommend? I'm looking for frames for PIP, "flash" for transitioning between vid and jpegs, other cool transitions, etc.
Thanks for your time!
Mark

Here is a list of plugins that exist for FCP:
http://proapptips.com/tips/links.php?category=Plugins
Shane

Nattress Film Effect Question

Dear all,
I really like the effects in http://nattress.com/Products/filmeffects/FilmEffectsImages/largeHDVFilmEffectsIm ages.htm
What are the presets or settings to achieve that effect?
Is there a more detailed documentation on each of the filters along with examples? I recently purchased the plugin, but besides from a few easy-to-understand presets, I am quite lost.
Thank you,
Drinking Water

G RGB Mixer was used for the colours and gamma adjustments, and G Vignette was used to blend the edges off to black.
Graeme

Nattress film fx for luma?

I've recently been using a new workflow, after cc and fx, I've been using film fx, curves>>white output to keep my luma levels legal...it seems to be working well, I like it more than adjusting in 3-way CC but I'm wondering if this might not be a good idea for some reason I'm not seeing.
Opinions?
Thanks, Bob

Zak thanks for your reply. I check with the scopes and Range Check, so my question is really about workflow.
If I have several CC-3ways (with limit effect) on a clip plus some other fx, is it "Best Practice" to adjust levels in each filter? or is it OK to adjust the overall balence with something like Film FX or Prc Amp?
Is there a standard operating procedure that most people follow, or does everyone just do it their own way?
Thanks!

Soft focus effect for FCP

Hi Guys
I need a soft focus plugin for Final Cut Pro and I'm hoping that someone can direct me to it.
Thanks.
1.8 dual G5 Mac OS X (10.4.6) 4.5gb ram

This what you had in mind?
http://www.chv-plugins.com/silkandfog.html
Patrick

Write permissions for FCP plugins

Hi,
I have downloaded some trial film effects plugins to see if they are apropriate for a project I am working on -and to see if they are any good of course. They are from a company called nattress. Anyway, I am not sure how to get the write permissions to install them in my plugins folder. I have the read permsissions, but not permission to write. Can anyone tell me how to do this or even reccommend some other good film look filter package plugins? This is rather urgent so any helpful response would be greatly appreciated.
Thanks!
4 x 2.5 GHz PowerPC G5 Mac OS X (10.4.6) 8 GB DDR2 SDRam

Copy the plugins (folder with plugins) to your FCP plugins directory:
<pre>/Library/Application Support/Final Cut Pro System Support/Plugins/</pre>
Just drag and drop the files/folder inside that Plugins-folder. You will then get a dialog about Authentication. Click the Authenticate button, type your password and click OK.
If you still can't get this working, you can put the files/folder inside your home directory, inside the following folder:
<pre>Library/Preferences/Final Cut Pro User Data/Plugins/</pre>
Good luck!

Film effect plug-ins

I have Final Cut Pro. Do I need another program like "after effects" to support, (for instance) Red Giant Software "Magic Bullet"? What in your opinion is the best film effect? Thanks, Mike

www.nattress.com FILM EFFECTS
Cheaper than Magic Bullet, with similiar results. With MB, you'll have to buy the expensive version (MB Editors only does color correction) while the Nattress filters cost $100 and do the film look AND color correction options.
I use both. They both are good.
Shane

24 fps Film Workflow in FCP

Hello all,
I'm planning out a film workflow for a feature-length motion picture I plan to edit with my Final Cut Pro setup.
The equipment is as follow:
Mac Pro Quad 2.66 GHz
5 GBs RAM
6 TB Cal Digit RAID
Kona LHe capture card
The stock will originate on 35mm and there is a chance that this will go back to film to have the negative reconformed (pending purchase by a studio and/or distributor). However, the initial plan is to master to HDCAM SR and do a Digital Intermediate.
Ideally, I'd like to stay in 24p (23.98) for offline.
One plan for offline includes getting all dailies transferred via telecine at one-light to DVCAM, then digitize and doing the reverse telecine in Cinema Tools, then correcting for the timecode variance, then doing offline in SD in a 23.98 project.
Would it time-saving (I know not cost-effective) to get all the dailies telecined at one-light to DVCPRO HD tapes at 24p, then digitizing into the system at 24p, and eliminating the whole "reverse telecine" process.
Is this the only way to ensure that offline and online media originates on 24p and stays that way? I want to stay away from conversion as much as possible.
Thanks in advance!
Mac Pro Quad 2.66 GHz / 5.0 Gigs RAM / GeForce 7300 GT / 2.0 TBs internal SATA

Of course Keycodes...I planned on this from the beginning. However, for your recommended method, I don't see why we'd have to have our 1-light transfers to HDCAM SR 4:4:4...wouldn't it make more sense to transfer directly to DVCPRO HD tapes, dig them into the FCP station (we'll rent a deck and tri-sync) and cut, then pull our selects from keycodes for an HDCAM SR 4:4:4 master for the final format.
Ok, you really don't need to transfer as 1-Light, have the colorist make a full color correction. The only reason why I mentioned 1-Light was for reducing the time in the transfer suite. You still be have to do Tape-to-Tape Color Correction and they can do some pretty amazing stuff that you won't be able to do in the dailies and vice-versa (Go with a DaVinci System or EQ or Pablo).
The only reason why I don't recomend the whole transfer to DVCPro and the re-transfer to HDCam SR is because you can get the DVCPro quality from the 4:4:4 Master (Just digitize straight from the HDCam SR master with a DVCPro codec). You save the 2nd Re-Transfer time, the Dubs to DVCPro, the DVCPro Tapes and you same TIME. Remeber that they still have to re-clean the film, spend time loading to the telecine, and problems that are going to arise due to a re-transfer like possible scratches, lab dirt, chemical spots, film tears, etc. And these DO happen).
*Also, if you're also editing your way, and matching back to you keykode for selects, you won't be able to do it in Final Cut. I checked today and this option is only available for Avids. *
Since it's a 1-light transfer, is it really taking advantage of the HDCAM SR's 4:4:4 color space bandwidth? Why not go directly to DVCPRO HD if it's only going to be 1-light...
Again, don't do a one light. If you can afford it have the colorist do their best. Yes, if you are going 4:4:4 might as well go all the way. Regarding the DVCPro, see above.
I'm not sure our budget will allow for an HDCAM SR 4:4:4 transfer of our dailies. Is there typically a price difference between transfering on different HD tapes formats? HDCAM SR seems like it'd be more expensive than DVCPRO HD. If there is no price difference than I can see your point...but how good would it look at only 1-light (albeit w/ video color-correction).
HDCam SR 4:4:4 is expensive. Next best thing would be HDCam SR 4:2:2, followed by HDCam and finally DVCPro HD. Lately, DVCPro and HDCam are going about the same rate for transfers. If you have a good Post Supervisor he/she can probably sweet talk the post house for a HDCam SR deal. DVCPro HD has a compression of about 15:1, HDCam is 7:1, HDcam SR is 3:1 and SR 4:4:4 is 1:1. (It varies from source to source, these are only approximates) If you're doing a Film-Out, the higher quality, the better the Film-Out.
Oh, and one more thing... a friend of mine, after choosing his selects from the final format of his feature, had the HDCAM select reel made with a 3-light transfer, BUT, also had a downconvert made with Keycode and Timecode burn-in to help with the reconform...if the keycode stuff failed to match...it seems to help him a lot. Any merit to this method?
This is how you re-conform your offline. The whole DVCam dub thing is a given, is part of the method. You have DVcam dubs made (with keykode and timecode burns), you digitize this new material with its respective list and then you match the keykode from the dailies, to the keykode from the selects and bring in your new timecode from the new "selects" masters so that your sequence/EDL (and therefore online) will have matching timecode (the timecode from the original dailies will be useless). (*This system is only available on AVID as far as I know*). Again, this is where keeping track of keykode is super important and you will encounter problems.
In my humble opinion, most of this stuff is for the Post Supervisor to figure out with the Editor and the Post-House. I have talked to post supers that have gone this method and you would not believe how confident they were the 1st week and totally lost it after the 4th week. I have seen shows that have gone through 4 or 5 assistant editors and had to hire a 2nd editor to help with the problems that came up. I have worked on this kind of shows many times and that's why I HIGHLY discourage it.
If you (or someone else) wants to know more, feel free to contact me and I can go into details and help you figure out a workflow that will save you TIME and a lot of headaches and a tiny bit of money. My email is in my profile and feel free to contact me, I won't bite! At first...

Best computer for FCP

Greetings,
I have been editing feature films and video projects on my PowerMac G4 867Mhz for 5 years. I use FCP 5.1 and DVD Studio Pro mostly.
To replace my computer, I would like to buy a 24" iMac with a 7200rpm Hard Drive for smooth handling of HD footage. Does anyone know how this model performs with Final Cut Studio apps?
Also, I gave some thought to a MacPro, but it just seems like too much power for what I usually do.
I was thinking of buying a MacBook Pro, since I mostly do straight cuts and little 3D effects. Also, being mobile is a plus, but the price is a bit steep.
In addition to the iMac, I would like to buy a MacBook, where I could do simple cuts on the go (I know it is not supported, but many collegues have said FCP works fine on MacBook).
Any advice/ experience stories are appreciated.
Thanks in advance.

While some use the iMac for FCP, it is not an ideal solution as you can not add any additional internal disks for scratch drives nor add a pci firewire card or to isolate the camera from the external drive it is highly recommended you have. In addition, if you do decide to work at higher datarate formats, there is no way to add a pci esata card or an HD card either.
All in all, not a 'best computer for fcp'.
Go with a MacBookPro 17" which has a large enough screen to edit with on the go or a MacPro desktop. Both allow for expansion of capabilities.
good luck.
x

Video filters for FCP 5.1

Hey everybody-
I'm sort of new to FCP, and have a question about filters.
I've tested out all the video filters in version 5.1, but none of them create the effects I am looking for-- little color, almost pale looking.
Am I able to create this effect on FCP, or must I use a filter on my actual camera lens? I'm using a canon xl2...
Below are some shots from movies that replicate the look I'm going for:
http://www.watchmojo.com/blogs/images/twilight_1.jpg
http://image.guardian.co.uk/sys-images/Film/Pix/pictures/2007/07/25/atonement460 .jpg
Thanks for your help!

Main Menu/Effects/Video Filters/Color Correctio/Color Corrector 3way - lower the 'Sat'. (chroma saturation)
Here's a great tuturial that expands a bit on the processes involved.
http://www.kenstone.net/fcphomepage/basic_pleasantvillelook.html
K

Imovie style effects in FCP

how does one go about creating imovie style effects in FCP
like aged film, or rain, or film look
do i need to buy third party filters?

Graeme Nattress (www.nattress.com) has a very well regarded group of filters that will do "film look" as well as imitating aged film. Not sure what rain look is.
Or, edit your project in FCP, export a .dv file and run it through iMovie with whatever effect you'd like to apply.
x

FluidMorph for FCP?

I saw a post about this from someone else but it was for Motion and Shake. I'm looking for an effect that is like FluidMorph in the Avid but for FCP. Even if there's a plug-in I can get I just want to find out how I can create something similar to this:
http://www.idkwtf.com/videos/latest-videos/women-in-film
Thanks!

All of the transition points in the example movie you posted are stills. In fact the whole example movie is made of stills.
you would be looking for the CHV option
http://www.kenstone.net/fcphomepage/review_chv_morph.html
Message was edited by: Steve Mizen

How to build a plug-in for FCP

I want to build an export plug-in for FCP. It is a little similar to Automatic duck export plug-in. I want to export sequence in my own format.
The version of Final Cut Pro is 6.0.
I downloaded FxPlug SDK, but it is only about video effect, not what i want.
And I didn’t find any other documents about how to build an export plug-in for FCP.
Who has some related documents or can support me on this?
I will pay for the help if i can afford it.

I don't own Automatic Duck so I don't know how that particular application goes about doing this, but the only way I can think of doing it is through a QuickTime Export Component.
http://developer.apple.com/documentation/QuickTime/Rm/ImportExport/DataExchange/ A-Intro/chapter1_section1.html

Nattress Film Effects for FCP HD

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