| Plug-in(s)
Review -A plethora of Plugins and Programs |
Febuary, 2004
New On My (Even
More) Cluttered Desktop
A Plethora
of Plug-Ins and A Peck of Programs
by Ned
Soltz
Note: There
are a lot of images in this review. Be patient while the page
loads
I feel the need for alliteration and
any other form of non-serious relief I can find. I once thought
I never could have enough plug-ins or applications to assess,
review, and otherwise occupy my time. In the last few months,
however, the products have just been piling up (there I go again),
software vendors have been asking "have you reviewed my
product yet" and print/web editors have become less tolerant
of my occasional stretching of deadlines. The artistic personality
excuse no longer cuts it, so now I need a creative solution to
the problem of too many new things. Ah, so many new applications,
so little print space.
In order, then, to bring to you my assessment
of a wide range of add-ons, plug-ins, and applications, I'll
condense my often-lengthy review of individual products into
a synopsis of my testing process over the last few months. So,
with no particular order in mind, here we go.
Curious
gFX 1.0
Compositing, Painting,
Rotoscoping Software
www.curious-software.com
Version 1.5 now available
$995 Pro; $1995 Pro+
I first encountered Curious gFX wandering
through the cavernous exhibit halls of NAB, Las Vegas this past
April. Those involved in broadcast news will already be familiar
with Curious Software's breath-taking mapping application, Curious
World Maps. For the past several years, Curious Software has
been on the cutting edge of producing all forms of 2D and 3D-simulation
world maps used from local broadcast to network tv to all-news
broadcast formats.
Image from Curious Software
Web Site
The detail of their maps reflects both
skill and attention to fine detail, making the company's excellent
reputation well-deserved.
That same degree of attention to fine
detail is evident in the first revision of their paint and rotoscoping
application Curious gFX. In fact, I was awestruck at their demo.
Many of us bemoan the apparent halt in
development of Pinnacle Commotion Pro. In my opinion, Commotion
Pro possessed the best rotoscoping and painting tools of any
of the desktop products. Its motion tracking and corner pinning
were hard to beat. Despite the lack of a new version for a couple
of years, a significant number of video artists still depend
upon Commotion Pro for rotoscoping, matte creation and painting.
Now, enter Curious gFX. Even in its original
version 1.0 which I had the opportunity to use on a time-limited
license, I have seen nothing which equaled its spline-creation
simplicity as well as precision. One cannot create a B spline
with AE; that was totally reserved for Commotion. Curious gFX
allows drawing those splines either with mouse or graphics tablets
and allows the assignment of trackers to those splines. While
less of a timeline-based application than AE, for example, gFX
nonetheless has an easy to understand UI.
Curious UI
All controls are readily available with
layers stacked in a Photoshop-like layers list window for easy
re-arrangement or selective viewing. But it is in painting and
rotoscoping that gFX excels.
gFX spline
This illustration represents the conclusion
of a series of spline-drawing operation isolating a dolphin from
its surroundings, using the gFX sample footage. After drawing
the initial spline, the final spline is matched to the contours
of the dolphin and from there any operations may be completed.
Another wonderful feature is the easy
ability to convert a paint object to an alpha mask. This is invaluable
for compositing and the program achieves it with ease and with
speed. And, while, I'm talking about painting, paint tools allow
not just masking but also cloning (like the AE 6 clone tool but
achieved with customizable brushes).
gFX Alpha
There was only one truly problematic
issue with gFX - the price. The product debuted at a price point
of $4995. That would place it within the Shake price range and
unfortunately out of the price range of many small studios and
independent artists who could truly use its features.
The arrival of gFX 1.5 brings multiple
versions of the product at pricing levels which give it the chance
to compete in the broader marketplace. Curious gFX 1.5 Pro is
the base product, at $995. The step up to gFX 1.5 Pro+ is $1995,
with the plus version adding text capabilities as well as 16-bit
capabilities for those working in those higher depths. The Broadcast
version remains at the $5000 level and is designed for broadcast
applications where real-time output into the production flow
is required.
I am thrilled to see the price reductions
in this product. As a smaller company, Curious Software may not
have all of the PR resources to market its product like "the
big boys and girls" can muster. But, let me tell you for
painting and rotoscoping applications, Curious gFX is the product
to have. I urge readers to visit the web site, download the demo
and experience the program for yourself. This product has the
potential to lead the pack in painting and roto-splines. Try
it you'll like it.
CGM Filters
Volume 3
www.cgm-online.com
$179
Available in the lafcpug
store
Klaus Eiperle is one of the handful of
people on the planet who fully understand FX script and who can
put it to work in filters that we actually need. Now keep in
mind that there are number of advantages to producing FCP filters
in FX script. Among them are rendering speed and native color
space. Since AE processes in RGB color space and FCP works in
video YUV color space, AE plug-ins within FCP must process in
RGB and depend upon FCP to translate the results back into YUV
space. Filters written in FX script maintain all processing in
YUV space.
FCP users of versions prior to FCP 4
are already familiar with some of the earlier of the CGM filters
from the volume 1 collection, packaged at that time with FCP
as "FX DVE Fiters and Transitions". Apple no longer
bundles these with FCP 4 and updates to the original volume 1
optimized for FCP 4 are available on the CGM web site for $99.
Likewise, $349 purchases all 3 collections in a package entitled
CGM Complete.
But for now, just a few words on CGM
3.
The collection includes 58 filters, transitions,
transitions as filters and generators.
Within the limitations of space, I obviously
cannot show you all 58. You may navigate to the web site for
detailed images of all of the filters as well as to download
a demo version.
I'll just highlight a few of my favorites:
A new transition is the Random Bars Wipe.
This effect is rather popular on American television today (less
so in Europe, or so says Klaus). The adjustment parameters allow
for any number of variations of the effect.
CGM random bars wipe
CGM random bars controls
Letter Zoom
is also a fun filter.
CGM letter zoom
I find, however, most useful is the 20point
Bezier Matte filter. I have always considered the lack of
Bezier matte tools a major shortcoming of FCP and have generally
used Boris Red to draw any Bezier mattes I might need. CGM 3
includes this tool. Now, as a caveat, the very architecture of
FCP makes the creation of this filter difficult and as a result,
it takes a little practice to master the drawing of Bezier mattes.
I also find the response time quite slow (and I am working on
a Dual G5 with 2.5 gigs of RAM). But you can master the technique
and it is very useable within FCP.
CGM 20 point Bezier
Matte filter
CGM 20 point Bezier
Matte filter Controls
CGM 20 point Bezier
Matte filter Final
I've played for hours at a time with
the Morph transitions and filters. Essentially, this is a meshed-based
morphing tool that works by matching grid points between the
outgoing and incoming images. The process is intuitive and delivers
a smooth transition between images. I would not put the filter
in the same league as the dedicated AE plug ReFlex from RevisionFX
(also bundled with Combustion 3), but this plug-in does not even
run in FCP. The CGM Morph filter and transition will be
very adequate for all but those most complex operations where
there is significant movement between subjects. That reason,
by the way, is what differentiates the use of the Morph filter
and transition. CGM recommends using it as a filter where there
is motion and as a transition where there is little or no motion.
CGM Morph Controls
CGM Morph in Progress
Although not illustrated here, the Countdown
generator is very useful for creating your own customized
countdowns and you never know when you will need that Karaoke
generator to produce lyrics for your Karaoke video.
In summary, this is a well-crafted set
of filters that are useful not only in everyday applications
but also to create effects we often need just to jazz up our
projects. Check it out on the web, download the demo and remember
to support the independent developers of FCP products who have
taken advantage of the extensibility of the program to bring
us quality products at affordable prices.
55mm 3.0.1
$150
Digital Film Lab 1.0
$245
www.digitalfilmtools.com
Available in the lafcpug
store
Let's take a quick look at two packages
from Digital Film Tools.
55mm 3.0.1 has been out for a while now
and is an update to DFT's successful earlier versions. 55mm is
one of the most unique packages available for FCP/AE (and also
comes in Avid version) due to its emulation of various glass
filters which you could have put over your lens before shooting,
but obviously did not. I had reviewed the earlier version last
year, noting that in a PSA shoot I produced over 20 years ago,
my rather self-absorbed middle-aged talent insisted on "some
kind of filter to soften my face." My DP had a ProMist filter
in his kit fortunately and threw it on the lens. Then he could
hit the record button and roll that 1-inch tape. Ah, those were
the days. Today, we can fix it in post. 55mm filters really do
look like glass filters and have sufficient controls to emulate
the whole range of values of a particular filter.
55mm List of filters
Version 3.0 adds several new filters,
but notable here is the 55mm Light! Filter. Light adds
additional light to an image defined by a matte. That matte can
be imported or one of dozens of preset shapes. In this image,
we are simulating an overhead window over the subject. Note the
before and after shots.
55mm Light - Before
55mm Light - After
As you can see, the controls are extensive.
55mm Light Controls
I'll just let you imagine what this filter
can do. How many times have any of us shot a subject against
a plain wall without any kind of egg crate or other pattern to
place over a light source? Imagine then adding, say, a venetian
blind lighting effect which casts the shadow of the blinds on
the wall and allows some of the light to hit the subject, as
if the subject were positioned properly to catch natural daylight
coming through the window. 55mm Light can do it.
Also from Digital Film Tools is Digital
Film Lab 1.0. Again, this product has been out for a while
and has not had the recognition it deserves. Digital Film Lab
simulates a range of film looks both from its sliders as well
as its presets. This package is a bit easier to use in AE than
in FCP, since the FCP architecture does not allow pre-sets to
be specified as pull-downs. Thus, all of the preset looks are
contained within a separate FCP project. Open the project file
and drag one of the pre-sets to the Filters window of the clip
to which you wish to apply the effect. And there are a lot of
pre-sets.
Digital FilmLab Preset
Categories
I am particularly impressed with the
Grain category which emulates the grain and other characteristics
of various Kodak film stocks. While there are various named looks
within the presets (bleach, black and white, punchy, etc), anyone
from a film background knows the characteristics of specific
film stocks and would feel very comfortable working in that manner.
Once a pre-set is applied, you can still
adjust the settings or simply just apply the filter and create
your own effect.
Digital Film Lab is a bit pricier at
$245 than other looks packages, notably the G Film package which
I will discuss next. But its extensive presets and extensive
controls makes it worth the money.
Note also for AE users that DFT plug-ins
work in 16 bit depths.
These are packages definitely to consider
for FCP and AE users.
G Film
$100
G Standards Converter
$100
Available in the lafcpug
store
The last packages I'll cover in this
cluttered desktop installment come from one of the most prolific
creative plug-in geniuses to be found. Graeme Nattress is always
there on internet forums responding to queries about filters
and on any number of occasions, I have seen him write: "Sounds
like a good idea for a filter I'll write one and get it to you"
These filters are written in FX script
and thus are FCP specific. But they will also process in YUV
space and render extremely quickly.
G Film
is the package to buy if you want your video to have the illusion
of film motion and film looks, while remaining in the 29.97 NTSC
or 25 fps PAL timeline. The G Film Filter works by doing an internal
conversion to 24p and immediately adding a 3:2 pulldown. So,
the motion is 24p yet you are in a 29.97 timeline.
G Film Controls
It is impossible to depict the results
of the motion change in a still image. But, please take my word
for it. Footage processed through G Film looks like film motion.
Graeme has just released G Film Flash which functions as a Transition
within FCP and which gives you a great flash transition.
G Film Flash Controls
Also included in this package is an extensive
Film Looks package. There may not be quite as many presets as
in Digital Film Lab, but the adjustment parameters are extensive.
Also, Graeme has figured a way to code the plug-in to allow a
"Presets Explorer" plugin, giving you access
to all of the looks.
G Film Presets Explorer
You can actually apply the preset from
the explorer or, for more parameters after having decided which
look you desire, delete the Explorer and apply the actual filter,
thus gaining access to more controls.
For anyone who wishes to achieve film
look within FCP and who has shot 29.97 or 25 fps footage, this
filter is the way to go. But there is more! You no longer have
to work in After Effects to convert your footage to true 24p.
The G Film Converter plug-in will do a 24p conversion however,
unlike the G Film Filter, it does not add the 3:2 pulldown. Thus
you can work in a pure 24p environment!
Now, for the most amazing filter of them
all and my definite winner among all of the plug-ins I have reviewed
in this installment - G Standards Converter.
This plug-in achieves in software what
previously only hardware conversion could accomplish - moving
freely between NTSC and PAL in both directions.
G Converter
Here again, the parameters look deceptively
simple. Follow the well-written documentation which not only
explains how to make the converstion but also the theory behind
the conversion process. You will achieve results comparable to
hardware conversion. It is definitely a specialized plug-in;
not everyone will need standards conversion and many studios
dealing in international environments already might have standards
conversion VTR's. But for those of us who cannot justify the
hardware expense other than just a deck of the opposite standards
persuasion or who really do not want to send every tape to a
post house, G Standards Converter saves the day. Again, I can't
depict a still of a conversion, but download the demo and see
for yourself.
Summary
Whew! That clears a few pieces of paper
and reminder notes from my desktop. All of the products that
I have highlighted in this article are stable and well-designed
pieces of software. Curious gFX deserves a share of the market.
Nothing does splines like gFX. CGM filters are a mainstay of
the FCP world and any user should basically just buy them whenever
a new set is released. They are essentially the building blocks
of most FCP effects. Digital Film Lab and 55mm are specialized
plug-ins that will work both in FCP and AE. There is no comparable
package to 55mm for glass filter emulation and the looks presets
in Digital Film Lab are the most extensive of any such plug-in.
The G Film filters really do make your video look like film with
both motion and looks and should definitely be in the arsenal
of FCP users interested in achieving that film effect. Finally,
true software standards conversion has come to FCP in G Standards.
Stay tuned next week for yet another
episode in As The Desktop Starts To Unclutter.
Happy editing to all!
copyright©Ned Soltz2004
Ned Soltz
is a passionate advocate of technology which enhances the creative
process. He only wishes that he were more creative. Ned is among
the founders of lafcpug, as well as a published author of numerous
articles and reviews on all things NLE. The author of several
books and technical editor of still others, Ned is often on the
road with his Powerbook G4 and mobile FCP studio. Catch him at
home or on the road at nsoltz@aol.com
Ned also moderates several forums on 2-pop.com
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