Authentic voices. Remarkable stories. AOL On Originals showcase the passions that make the world a more interesting place.
Jews and Money. Asian Drivers. Polish IQ. CPT… that's racist! But where do these stereotypes come from? Comedian Mike Epps explores the backstories of this humor and how history and fact often distorts into a snide – but sometimes funny – shorthand.
"INSPIRED" features celebrities, visionaries and some of the biggest newsmakers of our generation, recounting the stories behind their biggest, life-changing moments of inspiration.
In a compelling series of verite encounters, Win Win provides unique access into the minds and lives of the world’s most-celebrated entrepreneurs and athletes.
Explore what it means to be human as we rush head first into the future through the eyes, creativity, and mind of Tiffany Shlain, acclaimed filmmaker and speaker, founder of The Webby Awards, mother, constant pusher of boundaries and one of Newsweek’s “women shaping the 21st Century.”
Nicole Richie brings her unfiltered sense of humor and unique perspective to life in a new series based on her irreverent twitter feed. The show follows the outspoken celebrity as she shares her perspective on style, parenting, relationships and her journey to adulthood.
Comedy is hard, but teaching comedy to children is hilariously difficult. Kevin Nealon is giving the challenge to some world-famous comedians. As these young minds meet with comedy’s best, get ready to learn some valuable comedy lessons, and to laugh!
James Franco loves movies. He loves watching them, acting in them, directing them, and even writing them. And now, he’s going to take some of his favorite movie scenes from the most famous films of all time, and re-imagine them in ways that only James can.
The story of punk rock singer Laura Jane Grace of Against Me! who came out as a woman in 2012, and other members of the trans community whose experiences are woefully underrepresented and misunderstood in the media.
Executive produced by Zoe Saldana (who will be the subject of one episode), a celebrity travels back to their hometown to pay tribute to the one person from their past (before they were famous) who helped change their life by giving them an over-the-top, heart-felt surprise.
Enter the graceful but competitive world of ballet through the eyes of executive producer, Sarah Jessica Parker. This behind-the-scenes docudrama reveals what it takes to perform on the ultimate stage, the New York City Ballet. Catch NYCB on stage at Lincoln Center.
Park Bench is a new kind of "talking show" straight from the mind of born and bred New Yorker and host, Steve Buscemi.
Go behind the scenes with some of the biggest digital celebrities to see what life is like when the blogging and tweeting stops.
Digital influencer Justine Ezarik (iJustine) is back. After covering the world of wearable tech last season, iJustine is expanding her coverage this year by profiling the hottest tech trends across the country.
Final Cut Pro tutorial, this video will focus on how to round-trip from final cut pro to shake.
Tags:Round-Trip From FCP to Shake Final Cut Pro 6,apple software,apple tutorials,appleshakerguru,Final Cut Pro,final cut pro effects,final cut pro effects tutorial,round-trip final cut pro to shake,software tutorials
Grab video code:
Hey guys, I got a lot of video request telling me, “I want to go from Final Cut Pro to Shake work on it in Shake and then reconnect in Cinema Media back to Final Cut Pro but after I get through working on my stuff in Shake and I try the Cinema stuff back to Final Cut Pro I can't get it to work, I can't get it to do it. So I'm going to show you how to do that real fast.
As you can see I have my Windows video loaded up here so I'm going to do is I'm going to right click, go to send to, Shake. And then it’s going to ask you for a path to save you script and your movie. As you can see under my movie file there I have a photo named from shape to FCP. I'll just use that one and I choose my place folder the same folder then I have that. So now, we’re going to hit export and I'm going to make sure I have a launch shape selected and we hit export.
It’s going to render this out with the video if it needs render. I'm doing this from the beginning and we’re going to the whole thing to let you guys see it from start to finish so there will no confusion. So let's render out here while on 80%. It kind of get slower towards the end there because there is just more going on inside the video. So we let it go when it’s done.
And now you can see I've got a different sequence here. Another one on top of that one it says sequence five and then it says Shake right there and you can see Shake is launching. Now, I have tons and tons of plug-ins inside the Shake so it takes a little bit longer for my version of Shake to launch. Does yours? Okay. Now, as you can see its pulled our project right in here and here it is coming right there.
Now, what is done is here is the movie right there at top. Then we have a select mode which is for—if you have another clip and you want to do some editing this is select mode and then under the select load it throws in a multiply load. And then I has the file out nodes. So let's go in here—it don’t really matter where—I'm want to go in right after this load here and let's go into—let see here. Let's just do something to change the look of it so I can demonstrate this.
Let's go to color brightness, in this brightness we value up a lot. We’ll darken it down, well, I'll brighten it up. Let's try to do a lot of the color changes here so we can kind of see what's going on. I want to basic plug-in let's see what kind of plug-ins they go here. They’ve got a lot of good looking stuff, I'm trying to find anything that kind of just to makes it standout and it’s going to be kind of hard to with this deal. I got here technically two strips, let's try that.
That really doesn’t help much does to it. So I tell you what we’re going to do, I remove the brightness of technique two strips and we’ll just go in here and place a place plain old color saturation. And we’ll just pull the saturation just to suck it and now it’s black and white as you can see. Okay?
If you want to go in and do some load on work or whatever you want to do but we’re just going to stick to maybe bad TV too. Now we got some skin launch and stuff and it’s black and white. So now, we've done these adjustments in Shake, how we get our clip back to Final Cut Pro? Well, no problem we go to your follow up note, we go up to render, say render file out nodes. So render and then it’s going to open up your flip book and it’s going to down rendering.
Okay, now this is the main step that most people forget to do. Now go in, now do all the working Shake and you walk real hard at it and put a lot of time into it and then they go send it back to Final Cut Pro and they reconnect their media and everything and it looks the same and I can't figure out why it looks the same and that’s because they haven’t re-rendered their file out nodes. So this is something that you have to remember.
Now, I'm going to go ahead and render this whole scene out of 800 frames, okay. So set back in right a couple of minutes and I'll be back as soon as it gets down rendering. I'm just going to add it to video so I'll see you in a minute.
Okay, now we’re on 750 frames, Shake from once are render. As you can see with CPU all four of course max out with the bone. Shake is wonderful guys. I'm telling you it really is but we heard the best render or without seen and I just really like it, it’s great. Final Cut Pro Motion none of them use this amount of CPU uses for rendering, none of them but Shake does.
Okay now, we’re finish as you can see we rendered that out, all 882 frames. Now let's go back to Final Cut Pro. And now as you can see we have this sequence from Shake right on top or our original sequence but it’s turned off. So turn it on and then you turn it on, look at there. There might be an instance where if your video doesn’t update, if it don’t look the same you don’t have to right click, go down to reconnect media and then just navigate to the place as I search and it’s going to search for me or you can do it manually by saying the locate and you go to the file which will be under movies. After we done our movies from Shake to FCP and there it is you he goes from file from Shake that’s if the media you sent back from Shake isn’t updated but as you can see it’s automatically updated right there we go.
All the effects we did in shake is right there in our time line ready to be work on edited in FCP. And that’s how simple it is to go with an FCP in Shake. A lot of people having problems and I don’t know why but it works seamlessly and I hope you get something out of these guys and we’ll see you next time.