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Improved: Response of some controls to mouse-wheel. Other general bug fixes and improvements. Includes over free samples. Enhanced optimization for Apple M1 processors. Fixed: Most Waves plugins could not load on non-English Windows systems with a non-English user name.

Fixed: Waves instruments could not load on non-English Windows systems with a non-English user name. This is now fixed in v Fixed in the Waves System Toolbar : Possible sluggishness in the top bar.

Fixed in the Waves Preset Browser : Incorrect preset order when capital letters are used. AU Reg Utility for Mac December 13, 50 new factory presets added to Retro Fi for beats, bass, drums, guitars, keys, vocals and stereo bus.

New: Waves plugins are now fully supported on Windows Improved: Plugins opened within Scheps Omni Channel now open in a separate floating window. Waves Local Server Update v Fixed: Logic no longer crashes after closing the plugin’s GUI when the focus is on the preset browser.

Fixed: Maschine knobs no longer glitchy within Pro Tools when Waves plugins are present. Fixed: Preset saved into a user preset’s subfolder will not be checked with “v” when loaded. Fixed: Save option no longer opens with file extension selected.

Fixed: Offline process in VST3 consistency. Please note: This fix may slightly affect the sound of sessions created with previous versions. General bug fixes in Codex and Element. Please note: This update may slightly affect the sound of sessions created with previous versions. Expanded modules no longer auto-engage when collapsed. When Bucket view is empty, right-clicking for assignment no longer causes pointer to jump.

Insert slot settings can now be saved in Pyramix. Drive control: Auto-engage no longer changes drive from pre to post. Nx Waves Head Tracker no longer disconnects from windows after being idle for 10 minutes. Fixed in MultiMod Rack : Effects no longer disappear when a slot is disabled. Fixed in Scheps Omni Channel: Swapping modules with touch screen now works consistently.

Insert slot settings are now successfully saved in Pyramix. Fixed: Mute no longer auto-engaged in certain presets loaded within rack presets. Fixed: Offset no longer present in the text field when double-touching plugin parameters. Fixed in IR Live : Possible short audio drop no longer present when focusing the plugin or changing non-IR parameters. Waves Central: New Version V Ongoing improvements and optimization.

January 12th, The Waves Local Server v Two active servers and two redundant servers can now be connected simultaneously, for expanded plugin processing power in live shows and streams. See full technical setup instructions and software update instructions Fixed: DiGiCo Mirroring is now possible in mirrored setups with different configurations Fixed: Available SoundGrid servers are now displayed in the right order in the server menu Fixed: Host reconnect now restores properly Fixed: Hang issue upon Quit Fixed: Occasional crash issues upon launch and second load Fixed: Memory leaks in the remote module Fixed: Inventory was occasionally empty upon launch; this no longer occurs Multiple additional minor bug fixes and improvements Updated: SoundGrid Driver ASIO v October 11th, Updated: StudioRack v IO FW v IO card for the Prodigy product series.

Fixed: Bug preventing the control panel from opening on Windows See more details in the StudioRack update notes above. New: Ability to assign sidechain to plugins. Fixed: No warning when exceeding latency compensation limit. Fixed: More general bug fixes. Updated: SuperRack v New: Re-calibrated Routing view now shows only errors affecting audio. Fixed: Various bugs in the control and mirroring integration with DiGiCo consoles.

Fixed: Hot Plugin Panel showing incorrect gain reduction meters with several plugins. Fixed: Hot Plugin Panel opening incorrectly upon session load. Fixed: Sidechain assignment not loading correctly. Fixed: Session saving bug causing session file corruption. Improved application stability and performance. New: Display Auto-Scaling mode added for better support of high-res screens. Improved: Fonts have been updated across the application.

Improved: Mute Groups and User Key layout improvements. Improved: Log indications updated and new prints added. Fixed: Bug causing the driver to reset to 32 channels after re-launch. Fixed: Bug causing server friendly names not to recall with session. Fixed: Link behavior with FIT. Fixed: Session load issue leading to crashes. Fixed: On-screen Keyboard in Lock screen. Fixed: LV1 user interface disappears prematurely upon quit, leading to recovery message upon next launch. Updated: SoundGrid server firmware v Minor UI improvements.

April 29th, New bundle — Vocal Production : Includes 15 plugins for vocal production and mixing. The legacy Vocal bundle is discontinued.

Added “Download Team Viewer for remote assistance” link to the Support section. The new version of Central no longer supports macOS March 7th, New: Artist presets by Mr.

Bill added to the Kaleidoscopes plugin. March 3, All Waves plugins: Across-the-board software update to V Each user-created preset is now single file. User-created presets can now be placed in subfolder groups. The Waves Tool Bar has been modified to accommodate the new workflow: Watch tutorial. Fixed: Occasional audio issues when two Nx Head Trackers are active at the same time and the second tracker is selected.

Fixed in Pro Tools: Bug causing Link state not to be mirrored in some scenarios, when the plugin is grouped in Pro Tools. Fixed: GUI hangs when switching to Bucket view using a touch screen. Fixed: Possible audio corruption when automating multiple EQ parameters together. Fixed: Crash on load when the main plugin folder is removed. Fixed: GUI corruption when undocking a plugin and changing skin settings.

This is now fixed. Fixed: Bug causing no change in sound when Undo is applied to previous actions in the EQ section. Bug causing the tracking rate indicator to be faulty after buffer size change. Renaissance plugins Fixed: Overly large parameter control zone. Waves Tune Fixed: Bug causing mouse scroll direction to be inverted. Fixed: Yamaha CC controller not working properly with rescaled Waves plugins.

Fixed: Text font corruption in OSX Fixed: Reaper crashes when sample folder path dialog opens during Waves plugin scan. Fixed: Issue adding icons to the Mac dock when installing SoundGrid applications.

Fixed: Error message when activating licenses on macOS New: Alert added when trying to install unsupported plugin versions on macOS 11 and New: Presets added by mastering engineer Maor Appelbaum. Updated: SuperRack Fixed: Bug in SuperRack Native rack routing. Fixed: Bug causing preference corruption after power failure. December 31st, Updated: SoundGrid Studio v Updated: StudioRack v Fixed: When two instances of the same plugin were inserted into a StudioRack parallel or multiband processing rack, and automation was recorded for the same parameter in both plugin instances, a bug caused both automation lanes in the DAW to show only the first automation, making it impossible to modify the second automation lane independently.

This bug is now fixed. Fixed: Logic crashing when sample rate is changed while StudioRack is inserted. Updated: SoundGrid Studio v Fixed: Bug causing plugin location to change once GUI is re-opened. New: Support for the Waves v12 plugin preset browser feature.

New: System-wide device sharing management persistence protocol. New: Support for SoundGrid driver sharing between systems.

New: Addition of rack presets designed for Commercial Audio use cases. Fixed: Buffer size settings on SoundGrid drivers and servers now work well together without stopping audio events. Fixed: Miscellaneous bug fixes related to the Hot Plugin panel, floating plugin windows, integration with DiGiCo consoles, and more. New: 32 colors for customized track color coding. Fixed: Firmware update loop issue.

Fixed: Bug causing Device name not to saved or recalled properly. Fixed: Standalone mode bugs. Fixed: Spill mode assignment bug. Updated: SoundGrid server firmware Included in CLA Epic as a complementary license.

Additional fixes and improvements. Fixed: Occasional installation failure of Waves products, due to failed scans by an AU registration utility which runs in the background of Waves Central. This utility is now fixed. You do not need to actively update your Waves Central application: the next time you launch Central, you will no longer encounter this issue. All Waves plugins can now be resized to several sizes, with the ability to set your custom default size per plugin or across all plugins.

Fixed: Occasional mouse pointer disappearing on Windows. Fixed in the Waves System Toolbar: Bug causing inability to save over the currently loaded preset after using the Undo function. Fixed in Waves instruments: Bug causing sample library location dialog on Windows to not function occasionally.

Fixed: Various errors in Waves user manuals. When used in Reason: Bug causing some plugins not to load in the Insert slot. When used in Bitwig: Bug causing Bitwig interface to momentarily freezes when presets are loaded. Long instantiation time in Premiere. Fixed in Greg Wells VoiceCentric : Bug causing the plugin to become unresponsive in Cubase after saved, while bypassed in a session, loaded, and then reactivated.

Fixed in MultiMod Rack : Issues when loading presets from a file. Bug causing MIDI mapping in some parameters not to be saved with the session. Fixed in NS1 : Meter showing no signal when input comes only from the R right channel. Bug causing MIDI mapping to be lost in various controls when the plugin is reactivated. Fixed in Playlist Rider : Wrong gain calculation with below-threshold content. Output clipping in some scenarios. Bug causing Tonal Character control not to be smoothed, occasionally creating clicks when activated.

Fixed in Renaissance DeEsser : Sound corruption in Bug causing the Insert slot to become black, with no indication of missing license, when attempting to insert a plugin with no license into the Insert slot. Fixed: Renaming issues in the Nx Head Tracker firmware. Improved compatibility with macOS Improved overall installation reliability. Better user experience in the Notices section. Better error handling.

October 28th, Updated: MyMon v Fixed: Compatibility with X32 v4. October 19th, Updated: SoundGrid Studio Fixed: It is now possible to edit and save device-friendly names under Inventory.

Fixed: It is now possible to disconnect individual assignments from channel direct output, in Route view. Fixed: Bug causing the signal to be heard in L or R only when a mono mic input is assigned as the source in Control Room or Headphones 1 to 4. Fixed: Bug preventing external insert settings from being loaded with your session. Fixed: Full Screen mode is now always available upon first launch in Mac.

You can also adjust the Insert Blend Mode and the Insert Opacity from the plugin interface without needing to go back into Mocha:. In cases where your input source has an alpha channel, you may wish to change the Alpha view inside the Mocha GUI. You can either turn Alpha off entirely by toggling off the button, or choose from one of the following options:.

Auto alpha: Reads in alpha if it is not opaque or premultiplied. This is the default setting. When rendering back out to the host, there are cases where you may also need to premultiply the alpha using the premultiply options in the plugin interface.

If you are using the ‘Stereo’ option, make sure you are applying the effect to the Left eye footage and choose your right-eye source input. This includes:. To add Mocha, simply locate it in the Effects panel like any other effect and drag it onto your layer. Once your layer is hooked up to your Mocha Effect, the general workflow for the Mocha Plugin is as follows:. If you are using Mocha Pro, choose the renders you wish to use from the “Module Renders” section and check “Render”.

Once you have applied the Mocha effect, you can click on the ‘Launch Mocha UI’ button to launch the main interface. If you are using the Mocha Pro version of the plugin, controlling renders is exactly like the standard OFX rendering controls. This is because all Mocha VR features have been rolled into Mocha Pro and a Mocha VR plugin stub is kept to avoid breaking compatibility with your old projects.

When you want to start a new VR project, we highly recommend using the Mocha Pro plugin rather than the legacy Mocha VR plugin, as this compatibility feature may be removed in future versions. Mocha workflow is designed around a project structure. It is good practice to only work on one shot per project file to minimize layer management and to keep the work streamlined. When you start the application you are presented with an empty workspace.

No footage is loaded and most of the controls are consequently disabled. To begin working, you must open an existing project or start a new project. This will bring up a file browser, where you can select almost any industry standard file formats.

Image sequences will show up as individual frames. You can select any one of the frames and the application will automatically sequence the frames as a clip when importing. A project name will automatically be generated based on the filename of the imported footage, but you can change it by editing the Name field. This is created in the same folder your clip is imported from. The range of frames to import. We recommend to only work with the frames you need, rather than importing very large clips or multiple shots edited together.

This is set to the starting frame number or timecode by default. You can also define a fixed frame You can set a default for the fixed frame in Preferences. You also have the option to view as Timecode or Frame numbers. If your clip has an embedded timecode offset and you switch to Timecode, the offset will be used in your project.

If you need to adjust this value later, you can open Project Settings from the file menu. Normally this is automatically detected, but you have options to adjust if necessary.

Make sure you check the frame rate before you close the New Project dialog. If you are using interlaced footage, set your field separation here to Upper or Lower.

Make sure you check your fields match your footage before you close the New Project dialog. If you wish the clip to be cached into memory, check the Cache clip checkbox here. Caching is recommended if you are working a computer that has fast local storage, but your shot is stored in a slow network location. More often than not, you can leave this setting off.

If working with log color space, set soft clip value here. Default is zero making falloff linear, rather than curved.

Mocha Pro supports Equirectangular Footage. To set the project to be in mode, check the ‘ VR Footage’ checkbox after you import your clip. When you start a New Project you are also presented with the option of creating a multiview project in the Views tab. If you check Multiview project you are then presented with the view names and their abbreviated names. The abbreviated name is used in the interface for the view buttons, but is also used as the suffix for renders. You can also choose the hero view.

By default this is the left. Defining a hero eye determines the tracking and roto order for working in the views. If you want to define separate streams of footage for the stereo views, you can add additional footage streams view the Add button below the initial clip chooser.

If you forget to set up Multiview when you start a new project, you can set it in the new Project Settings Dialog from the File menu. Once you are in Multiview mode, you will see a colored border around the viewer based on the current view you are in. This is to help artists to identify which view they are currently in without having to refer to the buttons. You can switch between Views by pressing the corresponding L R buttons in the view controls, or using the default 1 and 2 keys on the keyboard.

You can swap views or change the Split View mapping from the View Mapping subtab under the Clip module:. The Mocha Pro plugin has a slightly different project workflow to the stand alone Mocha applications. This action loads the footage from the host clip you applied the effect to.

It automatically applies the correct frame rate and other clip settings, so there is no need for the standard new project dialog. After you have done the usual work inside the Mocha Pro interface, you simply close and save the Mocha Pro GUI and then you can control the output from the effect editor interface. For setting up a new stereo project with the plugin, see Plugin Stereo Workflow.

The plugin has a slightly different project workflow to the stand alone Mocha applications. If you will only be working on a section of the shot you can use the In and Out points to set the range on the timeline. You can zoom the timeline to only show you the part between you In and Out points by clicking the Zoom Timeline button.

Frame offsets are important to get right in Mocha so that they export correctly to your target program. Project Frame Offset: This frame offset sets the starting frame for keys in your timeline.

For example if you have imported a sequence of frames and you need the index of frames to start at , you can change this under the Project Settings in the file menu. Clip Frame Offset: This frame offset is to offset the actual clip frames to slide the starting point of the clip back and forth. You can adjust clip frame offset under the Display tab in the Clip module.

For the vast majority of cases the Project Frame Offset is the value you want to adjust for working with data. The frame offset is usually already set correctly at the New Project dialog stage, but there may be cases where offsets change, such as adding new clip frames. Working with very long files can be time consuming for the artist and can slow down the tracking as it searches for more frames.

Try to only use what you need, and work on individual shots, rather than multiple shots in one piece of footage. Make sure these values match the settings in your compositor or editor, otherwise tracking and shape data will not match when you export it. If you are unsure which field your interlaced footage is in, import it and check.

If you quickly start your project with a guessed field order, you can check to make sure it is correct by using the right arrow key to step through the footage. Interlaced footage is painful to work with. For your own sanity, try not to use it unless you have to! If you are working on a large roto project you will sometimes need to have more than one person working on the same shot. When it comes time to export out mattes or do final tweaks you can use the Merge Project option to combine any files that have been used on the same piece of footage.

Simply select the Merge Project option from the File menu, and select a project you wish to merge. You can only merge projects that are the same dimensions, aspect ratio and frame length as the shot you are merging into. Open or create a project with matching footage and same dimensions as the Silhouette file. This is important.

Your Silhouette project file will need to match the frame rate, dimensions and length of the Mocha project to correctly import.

Choose a Silhouette sfx project file. If you are in OS X, you may need to navigate inside the sfx package to find the actual project file. The Silhouette project will then convert any Bezier and X-splines to native Mocha splines and appear in the project. If there are any B-Spline layers in the project, these will not be imported as they are currently not supported.

The key to getting the most out of the Planar Tracker is to learn to find planes of movement in your shot which coincide with the object that you want to track or roto. Sometimes it will be obvious – other times you may have to break your object into different planes of movement. For instance if you were tracking a tabletop, you would want to draw the spline to avoid the flower arrangement in the center of the table — it is not on the same plane and will make your track less accurate. To select a plane you simply draw a spline around it.

In general X-Splines work better for tracking, especially with perspective motion. We recommend using these splines where possible. The GPU option allows you to select any supported graphics card on your system to take on the brunt of the tracking process.

The resulting speed improvement is especially noticeable on high resolution footage or when tracking large areas. One of the most important concepts to understand with the Mocha planar tracking system is that the spline movement is not the tracking data.

By default, any spline you draw is linked to the tracking data of the layer it is currently in. In hierarchical terms, the spline is the child of the track, even if there is no tracking data. When you begin to track a layer, the area of detail contained within the spline s you have drawn will be searched for in the next frame. If the planar tracker finds the same area in a following frame, it will tell the tracker to move to that point.

Because the spline is linked to the track by default, it will also move along with it and the search begins again for the next frame. Scrub the timeline and you will see that the grid and surface move with the spline. Now select all the points of your spline and move it around the viewer. This is because the spline is linked to the track, but the track is not linked to the spline.

The spline is merely a search area to tell the track where to go next. It is a common misconception that moving the spline while tracking is affecting the movement of the tracking data. It is not. Moving the spline is only telling the tracker to look in a different place and will not directly affect the motion of the tracking. This makes the tracker very powerful, as you can move and manipulate your spline area around while tracking to avoid problem areas or add more detail for the search.

With the Planar Tracker you simply draw a spline around something, as shown with the screen below. Select one of the spline tools to create a shape around the outside edge of the area you wish to track. When drawing splines it is best to keep the shape not tight on the edge, but actually give a little space to allow for the high contrast edges to show through, as these provide good tracking data.

If you are using the X-Spline tool you can adjust the handles at each point by pulling them out to create a straight cornered edge, or pull them in to make them more curved.

Right clicking a handle will adjust all the handles in the spline at once. In some cases there are parts of an image that can interfere with the effectiveness of the Planar Tracker. To handle this, you can create an exclusion zone in the area you are tracking.

For instance, in the phone example we are using, there are frames where there are strong reflections on the screen. These reflections can make the track jump. So we need to isolate that area so the tracker ignores it. Select the add shape tool to add an additional shape to the current layer, which selects the area you want the tracker to ignore.

Draw this second shape inside the original shape. Note that both splines have the same color, which is an indication that they belong to the same layer.

Also you will notice in the Layer Controls panel that you only have a single layer. You can also add as many entirely new layers on top of your tracking layer to mask out the layers below. This is quite common when moving people, limbs, cars, badgers etc.

In the Essentials layout , tracking Motion parameters are listed in the Essentials Panel:. In the Classic layout , detailed tracking parameters can be accessed by selecting the Track tab. On the left hand side of the Track tab, you will see two sections: Motion and Search Area.

Understanding the parameters section of the Track parameters is vitally important for obtaining good tracks. Here we provide a breakdown of each parameter and how to use it effectively. When tracking, Mocha looks at contrast for detail. The input channel determines where to look for that contrast. By default, Luminance does a good job. If you have low-luminance footage or you are not getting a good track, try one of the color channels or Auto Channel.

By default, the minimum percentage of pixels used is dynamic. When you draw a shape, Mocha tries to determine the optimal amount of pixels to look for in order to speed up tracking. If you draw a very large shape, the percentage will be low. If you draw a small shape, the percentage will be high. In many cases, the cause of a drifting or slipping track is a low percentage of pixels. Keep in mind however that a larger percentage of pixels can mean a slower track.

This value blurs the input clip before it is tracked. This can be useful when there is a lot of severe noise in the clip. It is left at zero by default. Mesh Mocha Pro Only : Movement within the overall plane, such as distortion, warp etc.

See PowerMesh and Mesh Tracking in the next chapter for more information on this tracking method. The main difference between shear and perspective is the relative motion.

Shear is defined as the object warping in only two corners, whereas perspective is most often needed where the object is rotating away from the viewer significantly in space. As an example, if someone is walking towards you, their torso would be showing shear as it rotates slightly back and forth from your point of view. The front of a truck turning a corner in front of you would be showing significant perspective change. Large Motion: This is the default. It searches for motion and optimizes the track as it goes.

Small Motion is also applied when you choose Large Motion. Small Motion: This only optimizes. You would use Small Motion if there were very subtle changes in the movement of the object you are tracking. Manual Tracking: This is only necessary to use when the object you are tracking is completely obscured or becomes untrackable. Usually used when you need to make some adjustments to complete the rest of the automated tracking successfully.

Existing Planar Data: This is only used when you want to add Mesh tracking to an existing planar track. This is set to Auto by default. Angle: If you have a fast rotating object, like a wheel, you can set an angle of rotation to help the tracker to lock onto the detail correctly. Zoom: If you have a fast zoom, you can add a percentage value here to help the tracker. Again, the tracker will still handle a small amount of zoom with this set to zero. Track the plane selected by pressing the Track Forwards button on the right- hand side of the transport controls section.

You may keyframe the spline shape so that it tracks only the planar region of a shape by adjusting the shape and hitting Add Key in the keyframe controls menu. Keep in mind that no initial keyframe is set until you first hit Add Key or move a point with Auto-Key turned on. The spline should be tracked in addition to the clip being cached to RAM. You can play it back and get an idea as to how the track went.

F eel free to change the playback mode in the transport controls to loop or ping-pong your track. Turning on Stabilize will lock the tracked item in place, moving the image to compensate. In the track module, stabilize view is a preview mode to check your track. Actual stabilization output is handled by the Stabilize Module, explained in the Stabilize Overview chapter. You can check the accuracy of your planar track by turning on the Surface the dark blue rectangle and Grid overlay in the Essentials panel or the toolbar:.

If you play the clip, you should see the surface or grid line up perfectly with the plane you tracked. When you turn on the surface you will see the blue box that represents the 4 points of the corner-pin.

Right now you will see that it is not lined up with the screen. As described above, by selecting each corner one at a time you can adjust the surface area to cover the area of the screen, or you can use the middle points to scale and the outer corners to rotate. You can change the density of the grid by adjusting the X and Y grid values in View Viewer Preferences:. The Trace feature allows you to see the position of the planar corners over time.

Skip allows you to work with only every nth frame, useful on particularly long roto shots where the movement is predictable. To monitor what the tracker “sees” as a tracking area, select the Track Matte button in the view control.

There may be instances where you have already created mattes for one or more objects in the shot, for example using a keyer or another roto tool that would help you isolate areas to track. You can import such mattes by creating a new layer and then using the Matte Clip setting under Layer Properties to assign it to the layer.

When starting a new project, go through your footage a few times to see what your best options are for tracking. You will save yourself a lot of time by making note of obstructions and possible problem areas in advance. When tracking surfaces you will usually get a much better track if you include the edges and not just the interior of an object. This is because Mocha can define the difference between the background and the foreground and lock on better.

For example, if you are tracking a greenscreen, it is better to draw your shape around the entire screen rather than just the internal tracking markers. In some cases this means you can avoid tracking markers altogether and save time on cleanup later. The processing can be slower, but you will usually get a much more solid track. Remember you are not limited to one shape in a layer.

Use a combination of shapes to add further areas or cut holes in existing areas to maximize your search. If necessary, make an additional layer to track and mask out foreground obstructions before tracking the object you need. This way you can stop your track early to fix any issues and spend less time trying to find them later. In order for Mocha to keep the best possible track, it is usually best to scrub through the timeline and find the largest and clearest area to begin tracking from, draw your shape there, then use backwards and forward tracking from that point.

For example, if you have a shot of sign coming toward you down a freeway, it is usually better to start at the end of the clip where the sign is largest, draw your shape and track backwards, rather than start from the beginning of the clip.

We have a Planar Tracker which specifically tracks planes of motion, but this is not limited to tables, walls and other flat objects. Distant background is considered flat by the camera where there is no parallax. Faces can be tracked very successfully around the eyes and bridge of the nose.

Rocky ground, rumpled cushions, clumps of bushes, human torsos and curved car bodies are all good candidates. The key is low parallax or no obvious moving depth. When in doubt, try quickly tracking an area to see if it will work, as you can quite often trick the planar tracker into thinking something is planar.

Mocha is a very flexible tracker and will save a lot of time, but you will eventually run into a piece of footage that just will not track. Large or continuous obstructions, extreme blur, low contrast details and sudden flashes can all cause drift or untrackable situations. You can often get a lot more done fixing shots by hand or using AdjustTrack in Mocha rather than trying to tweak your shapes and parameters over and over again to get everything done automatically.

PowerMesh is designed to help track non-planar surfaces. This is for both rigid and non-rigid surfaces that would otherwise be impossible to track with a regular planar tracker. Rather than taking an optical flow approach which can be slow to render and produce cumbersome files , we use a subsurface planar approach which is much faster to generate and track.

Draw a layer around the area you want to track. Automatic: This determines the best mesh to use based on image information contained in the layer. Uniform: Generates a uniform square mesh insead of building based on the existing image.

This means that the smaller the Mesh Size, the more potential mesh faces you will have. The larger the Mesh Size, the larger the faces and the less faces you will have. This option makes sure the PowerMesh is generated to the boundaries of your layer spline, rather than just over the most interesting detail within it. Adaptive Contrast boosts details in the underlying image to help the Automatic mesh generate the most useful vertices.

Use with care! The Mesh tracker first uses the standard planar tracking per frame and then applies the sub-planar track with the mesh. Any mesh faces that fall outside of the spline or the image boundary are ignored. Those mesh faces become rigid and try to follow along with the existing mesh.

Turning this on tells Mocha to guess the amount of smoothness to apply to the Mesh track. A high smoothness is like applying starch to your Mesh. It will follow the planar track more rigidly and not distort as much. A low smoothness will follow the subsurface movement more directly and distort the mesh more.

As a general guideline, we recommend setting a lower smoothness for very warped or wobbly movement and a higher smoothness for more rigid objects that still have some distortion. Faces: This varies, but a smoothness of 50 is about the right amount to balance facial muscles vs general face planes.

This option deforms the spline shape to match the movement of the Mesh while tracking. As an added bonus, this also means it greatly reduces the keyframes needed to rotoscope an organic object. In the new layer, go to Layer properties and choose “Link to track” and select your tracked layer. You can also do this for the same layer you are on without creating a new layer. Any planar tracked layer can have the Mesh applied later and then simply be retracked using “Existing Planar Data”.

Selecting this turns on subselection in your mesh and you can move or delete vertices either before or after you have tracked the mesh. After Tracking, You can animate the tracked mesh manually to fix points or make your preferred adjustments. Animated meshes are keyframed for the whole set of vertices, rather than individual points.

This makes it easier to keyframe states over time, similar to the spline default animation mode. This tool appears when in Edit Mesh mode. When Add Vertex is on, click any Mesh edge to add a new vertex. A new edge will appear joining the created vertex and the vertex opposite. Use this section to create nulls from selected layers. See Creating PowerMesh Nulls for more details. Alembic tracking data as a mesh: The exports from the “Tracking Data” export options.

Alembic is supported across many hosts. The data format includes the PowerMesh and a camera that fits to the source footage. See Exporting to Alembic for more details.

Nuke Mesh Tracker: This will export a single Tracker node for Nuke that contains a single tracker point for every vertex in the PowerMesh. When tracking, if one of your mesh faces turns blue, this means the face has become flipped, normally because the area you are tracking has turned away from the camera.

You can use more than one contour to cut holes in the mesh generation. This is helpful if you want to ignore details in a surface, such as teeth in a mouth region or a tattoo that is taking up too much of the mesh detail. Tracking in Stereo is very similar to tracking in Mono.

Draw your shape as you would normally in mono mode See Mocha User Guide for an introduction to mono Mocha tracking techniques. If you now switch between Left and Right views you will see the Right view has automatically been tracked and offset from the Left view.

If you would prefer to only track and work with the Hero view initially then offset your data manually, you can also do this using the Stereo Offset tab in Track.

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Cosmo smooths skin tones, softens problem areas, and fixes blemishes with simple beauty sliders powered by our Colorista II technology. Start with ordinary interlaced video and apply Magic Bullet Frames’ sophisticated algorithms. You instantly get the smooth, professional, deinterlaced look of 24p film. Choose between motion-adaptive and field-blended approaches for high-quality footage at high speeds, right in your editor’s timeline. Magic Bullet Instant 4K. Choose from a list of preset resolutions to easily integrate HD video into your next 4K production.

Magic Bullet Quick Looks. Quick Looks is a light version of our full Looks tool with the same speed and quality at a lower price. You can define the style of your video or film by choosing from plus look presets to help set the mood for everything from a wedding to the next Sundance original. Magic Bullet LUT Buddy was designed for the professional colorist and bridges the gap from desktop applications to high-end systems and hardware boxes.

Magic Bullet Colorista Free. Free product. Set your colors free. Magic Bullet Colorista Free is a simplified, elegant color corrector that anyone can share and use.

You get exactly what you need with basic controls designed by experienced colorists, like the 3-Way Wheels from our popular Colorista II and numeric sliders for precise numerical accuracy. Red Giant Presto is a time-saving tool that quickly turns a live presentation event into a high-quality video. Presto imports a timeline with footage of the presenter into your editing application and matches it to the original presentation slides.

And presto! PluralEyes 3 syncs audio and multi-camera video automatically, preparing your sync in seconds rather than days. This stand-alone application works directly with Premiere Pro.

Monitor the sync with an interactive timeline and visual feedback, and use built-in fine tuning controls afterward. Version 3 is up to 20x faster than PluralEyes 2, and works with a variety of file formats and codecs.

Trapcode 3D Stroke. With 3D Stroke, paths, logos, or lines can take on lives of their own — glowing, tapering, and moving in complex ways through 3D space, while a built-in camera lets you capture the action from any angle.

It’s broadcast TV’s secret weapon for animated logos and sophisticated write-on effects. Trapcode Shine. Create compelling light effects without leaving your editing timeline, and without the tedious render times of specialized 3D applications. Sunshine through clouds, headlights through fog, or horror movie titles: Shine does it all.

Choose from 22 powerful presets, or make your own light ray effects from scratch. Trapcode Starglow. Starglow is a fast-rendering multidirectional glow effect. It can be used to create multicolored star-shaped glints similar to effects created by a camera filter.

Each customizable glow consists of up to eight directions, and each direction can be assigned an individual color map and streak length, offering endless possibilities.

The powerful plug-ins in Warp give you ultimate control over shadows, reflections, glows, and corner point warps. The Shadow tool renders shadows for text or subjects shot on greenscreen, while the Reflection tool creates mirror-like reflections. Use Radium Glow to add sophisticated glows and glimmers to any project. The Corner Pin tool heightens realism in any scene with advanced features for working with warped images, importing tracking data from mocha for After Effects, and adding secondary transforms and motion blur.

Red Giant Text Anarchy. Whether you’re adding visual background noise, using text as a texture, or flashing words to reinforce a theme, text is an important element of your composition.

Choose from Bezier paths, particle arrays, and matrix-style patterns: Text Anarchy generates the coolest effects while giving you fine typographic control. Also includes the Geomancy Shapes plug-ins.

Red Giant ToonIt. Give video footage that sought-after cartoon look easily and quickly with unique algorithms to transform your image into beautiful cartoon shading and lines. Its five plug-ins free you from time-consuming techniques like rotoscoping and hand painting and give precise control over styles, shading, and outlines.

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Reduces noise using novel feature-sensitive spatial filtering along with time-based optical flow methods! Automatically color match one view of a clip to another so that it looks as if it was shot with the same camera and settings. Get the ultimate toolset to smooth your imagery by combining user-directed controls and feature-sensitive methods.

Makeup Artist. Look Sweet. MovingPicture is a tool for producers and editors to pan and zoom on high-resolution still images. It takes scanned images up to 8, pixels and allows for perfectly repeatable pans and zooms directly from a Windows or Mac computer or as a plug-in to Adobe Premiere Pro.

MovingPicture is widely used by broadcasters, documentary film producers, schools, and corporate and event videographers. Color Finesse. Color Finesse offers high-end color correction and enhancement tools including multiple color spaces, tonal correction, curve-based correction, automated color matching and balancing, six-channel secondary color correction, reference images with split wipes, smart color legalizing, and waveform monitor and vectorscope displays.

Precision tools provide perfect alignment of 3D source imagery in all vectors. Moods offers the essential tools to easily achieve color balance and stylised looks while on tight deadlines.

Nodes offers editors and Motion graphics artists a unique tool to combine text, images and graphics into beautiful 3D animations. Nodes lets you play with several different presets, or you can create your own graphic vocabulary by customizing all available parameters. Visit our partner. UHD, 4K, 8K or higher resolution video now can be processed many times faster than with other production codecs. Maximum image fidelity is maintained using the native floating-point color pipeline in Adobe Premiere Pro.

Drastic’s MediaReactor plug in set provides the widest set of input and output file types available. SurCode for Dolby Digital, a 5. Now both MPEG-2 video and AC-3 surround or stereo audio can be encoded and multiplexed simultaneously within Adobe’s latest release of its flagship nonlinear editor. Stereoizer Spatial Enhancement. Rapid, intuitive access to the large sound all professionals strive for.

Stereoizer hits the bullseye, with the assurance of superb mono compatibility and no unwanted artifacts. Stereoizer offers you the full range of stereo image enhancement, from gentle width adjustments to huge dynamic ambiences that transform the soundstage. With visual audio analysis feedback and a clear, logical control layout, Stereoizer is satisfying to use and gives great results with the minimum of effort.

Powerful, transparent True-Peak limiting you can ‘set and forget’, with the assurance of True-Peak compliance always.

A direct-draw interface and detailed spectrum analysis make it easy to quickly identify and specifically fine-tune your audio. You can add this with EQ matching via sonic fingerprinting to see some unique possibilities. Mix and Master for the listener directly to Apple, Spotify, DAB Radio, and TV specifications, MasterCheck immediately reveals how your audio is going to sound to the listener, allowing you to produce with confidence and certainty.

Quick check analysis and correction – one click and you’re done. Save hours and prevent costly mistakes. VisLM Loudness Meter. Using an industry standard gives you confidence and peace of mind. VisLM-H delivers everything you need — intuitively, accurately and immediately. With a unique design focused on primary loudness parameters, VisLM-H combines an instant overview with detailed historical information, enabling you to hit your target first time, every time.

Additional loudness logging and time-code functions allow for proof of compliance reporting and postmortem analysis with frame accurate referencing. Visualizer Multi-View Audio Meter. Measure, understand, correct. Visualizer gives you indispensable audio analysis for quality audio production, with a standardized reference set of professional tools that let you work faster, avoid mistakes, repeat past success, and understand the success of others.

Halo Upmix Stereo to 5. From naturally extracted and expanded soundscapes to full cinematic big-stage enhancement, Halo upmix delivers with intuitive ease, all the control you need to fine-tune your surround mix to perfection. With unique center channel management, including switchable dialog extraction, Halo is perfect for all types of production from archive restoration and TV through to the full 7. SonicFire Pro 5. Custom soundtracks add impact and professionalism to any video.

Now, the celebrated leader in soundtrack creation, SmartSound, has made its famous plug-in for Adobe Premiere Pro even better. Completely multi-threaded rendering, uses every CPU available. GPU Acceleration of 3D workspace and rendering. GPU Acceleration of computationally intensive tools. Render and interactive performance scalable with remote nodes.

Designed to work efficiently with extremely large files. Enhanced file caching for local and networked drives. Disk and Ram Caching stores processed images for immediate playback. Multiple tools can simultaneously maintain their own cache. Automatic memory tuning. Images already in cache do not re-render. Cache output of any node to either RAM or disk. Render scenes with many millions of polygons and complex shading.

Lightning fast GPU based renderer. GPU accelerated Ambient Occlusion rendering. Geometry creation, with primitives and 3D text. Bending, tapering and warping of geometry or groups of objects. Duplicate, Replicate objects to create armies or crowds. Support for multiple renderers and many scenes in one composition.

Multi Channel Support. Use object and material IDs to mask the effect of any tool. Deep Pixel Compositing. World Position Pass integration of images with occlusion.

GPU accelerated for real time interactivity and rendering. Fully OpenGL accelerated for incredible speed.

Image Emitter tool turns each pixel of an image into a particle. Modify particle attributes with custom expressions. Produce depth of field blurring on particles based on Z-position. Animate any particle parameter over time. Apply motion blur to all particle streams. Choose from a variety of predefined particle styles and brushes. Merge separate particle streams together with pMerge tool.

Network renderable to slash render times. Network Rendering. Unlimited free Render Nodes. Powerful render manager for maximum efficiency. Network render Flipbook previews Disk and Ram caches. Layer Blending Tools. Choose between additive and subtractive merge modes. Perform Z-depth compositing. Apply calculated motion blur to any tool with animation applied. Vector based paint system.

Paint with hard or soft edge brushes or bit map image brushes. Choose paint styles including Clone, Emboss, Smear, Stamp and more. Use strokes and shapes to paint non-destructively on images. On-the-fly caching for amazing interactive performance. Individual strokes can be moved, edited, animated and tracked.

Infinitely scalable brushes with extremely fine softness control. Flood fill for magic wand-style operations that work over time. Layout text along spline paths, to a frame, or circle. Full Unicode support for international and extended character sets. Manually adjust the kerning and position of every character. Mix and match fonts, colors, size and texture in a single tool.

Extrude Text in 3D. Custom 3D bevel creation. Use multiple fill, outline and text borders. Use modifiers like Scramble, Timecode, and Follower. Transform layout, characters, words and shading elements separately. Fills and outlines have individual shading, softness and glow. Map images and sequences onto text with a variety of mapping styles. Store commonly-used styles in library swatches for future use.

Planar Tracker. Planar Stabilization and steadying. Planar Transforms of Roto. Camera Tracker with full 3D output of camera motion and pointcloud. Unlimited tracking points within a single tracker. High sub pixel precision. Adaptive pattern acquisition. Track paths forward and backward. Stabilization based on an unlimited number of track points.

Choose a manual rotation axis for stabilization. Drive the animation of any parameter, path or tool with tracked data.

 
 

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Ambientata nella Londra dei primi anni settanta , la storia segue le indagini per trovare un agente doppiogiochista sovietico tra i vertici dei servizi segreti britannici. Ottobre Controllo, il capo del servizi segreti britannici denominati “Circus” , invia l’agente Jim Prideaux a Budapest , nell’ Ungheria comunista , per incontrare un generale ungherese che aveva promesso di vendere informazioni importanti al fine di salvaguardare il Circus.

Tuttavia, Prideaux viene ferito e catturato dagli agenti sovietici. Al fallimento della missione segue un incidente internazionale e sia Controllo che il suo braccio destro George Smiley sono costretti al pensionamento anticipato.

Negli ultimi tempi tutti e quattro hanno avuto successo nell’ottenere materiale segreto dell’intelligence sovietica, ritenuto di eccezionale importanza, grazie ad un progetto da loro denominato “Operazione Strega”. Prima del loro licenziamento, invece, sia Controllo che Smiley avevano diffidato delle informazioni di questo progetto. Il “materiale dell’operazione strega” viene condiviso con gli americani, a patto che gli alti funzionari del Circus possano avere accesso a tutte le informazioni dell’ intelligence statunitense.

Smiley accetta di indagare e ottiene da Lacon il permesso di potersi avvalere di alcuni fidati collaboratori, tra cui Peter Guillam giovane agente ancora in servizio al Circus e Mendel un anziano ex agente, esperto in compiti di sorveglianza, copertura e protezione.

L’indagine inizia con l’interrogatorio degli agenti che hanno lasciato il Circus nel periodo in cui anche Controllo e Smiley stesso erano stati licenziati. Dopo aver interrogato Connie, Smiley torna a casa e vi trova nascosto proprio l’agente Ricki Tarr che, braccato sia dai sovietici che dai vertici del Circus, gli racconta che era stato inviato a Istanbul per indagare su un funzionario sovietico di nome Boris.

Tarr aveva capito che era un agente segreto e che non si poteva corrompere; invece la moglie Irina, anch’ella al soldo dei servizi segreti sovietici, sembrava avere informazioni interessanti. Smiley chiede a Peter Guillam, agente del Circus e suo stretto collaboratore durante le indagini, di rubare dagli archivi del Circus alcuni documenti fra i quali i registri dei contatti riguardanti la notte in cui Tarr aveva inviato il suo messaggio.

Guillam porta i documenti a Smiley che trova la pagina di quella notte tagliata, il che suggerisce che la versione dei fatti raccontata da Tarr sia vera. Dopo aver esaminato i registri, Smiley si reca ad incontrare un altro tra gli agenti licenziati per interrogarlo, come aveva fatto con Connie Sachs: Jerry Westerby, agente di turno nella notte in cui Jim Prideaux era stato ferito a Budapest. L’ex agente rivela a Smiley che quella notte, seguendo il protocollo di emergenza, aveva chiamato a casa lo stesso Smiley per chiedergli le istruzioni da seguire per risolvere quella difficile situazione, ma era assente e quindi rispose Ann, la moglie.

Fra i documenti sottratti da Guillam al Circus, Smiley scopre fra l’altro un’incongruenza: tutti credevano infatti che Jim Prideaux fosse rimasto ucciso durante la fallita missione in Ungheria, mentre dai documenti contabili esaminati risulta che il Circus ha corrisposto dei compensi a Jim Prideaux anche dopo tale missione, il che suggerisce che l’agente non sia morto. Prideaux gli racconta i particolari del suo interrogatorio e anche di aver visto una prigioniera bionda uccisa davanti ai suoi occhi si tratta di Irina.

Smiley capisce che Percy Alleline, Bill Haydon, Roy Bland e Toby Esterhase si riuniscono regolarmente per incontrare Polyakov in una casa londinese sicura e sconosciuta, sottratta anche ai controlli di spesa del governo, al fine di ottenere il materiale dell’Operazione Strega, svelando quindi che Polyakov era il messaggero tra il Circus e la fonte segreta denominata “Strega”.

Smiley procede mettendo alle strette quello che appare come l’anello debole nel gruppo dei quattro sospettati: Toby Esterhase. Haydon gli rivela inoltre che Prideaux gli aveva confidato i sospetti di Controllo prima di partire per l’Ungheria, vista la loro stretta amicizia e lui aveva provveduto a riferirli ai sovietici. Mentre il Circus progetta lo scambio di Haydon coi sovietici, Prideaux, ormai certo di esser stato tradito dall’amico, lo uccide freddandolo con un fucile di precisione.

But we tried to stay as faithful to the book as we could within a page script. Most of the original material in this film came from Bridget. She was a very original and imaginative writer, whereas I’m much more the editor, the shaper. La maggior parte del materiale originale di questo film proviene da Bridget. L’ adattamento cinematografico era stato inizialmente avviato da Peter Morgan dopo aver scritto una bozza della sceneggiatura, offerta alla Working Title Films.

Il film fu dedicato a Bridget O’Connor, deceduta di cancro a 49 anni nel settembre , durante la fase di produzione. Inizialmente Park Chan-wook fu considerato come regista del film ma alla fine decise di rifiutare. La prima volta che abbiamo riunito gli attori nella sala conferenze, c’era molta concentrazione sul set. Abbiamo lo stesso periodo visto da tre prospettive diverse. Io ho cercato di immaginarlo da questa terza prospettiva». A suo dire, in questo modo si sarebbe dilatata la tensione di quello che succedeva nel film.

David Thewlis e Ralph Fiennes furono considerati per dei ruoli non specificati, ma alla fine non entrarono nel cast. Tra gli altri: Stephen Graham interpreta Jerry Westerby un’agente dell’ MI6 ; Simon McBurney interpreta Oliver Lacon il sottosegretario del ministero del tesoro; Svetlana Khodchenkova interpreta Irina , un’agente sovietica disertrice; Kathy Burke interpreta Connie Sachs un’agente costretta alla pensione in quanto aveva indagato sul messaggero dell'”operazione strega”; infine Roger Lloyd Pack interpreta Mendel , uno dei collaboratori di Smiley durante la sua indagine.

Le riprese del film si sono svolte tra Londra , Budapest ed Istanbul. Le riprese esterne dell’Islay Hotel, un fatiscente albergo che Smiley utilizza inizialmente come base della sua indagine, e che secondo la descrizione del film si trovava vicino alla Liverpool Street Station , sono state girate presso Wilkin Street.

La troupe ha girato a Budapest per cinque giorni. Poco prima di Natale , il team ha anche girato a Istanbul per nove giorni. La scenografia del film fu affidata a Maria Djurkovic, famosa per aver curato la scenografia di Billy Elliot e The Hours. L’arredamento segue l’atmosfera cupa e paranoica dell’intelligence britannica degli anni ’70, attraverso camere insonorizzate, file di schedari industriali, e molti archivi segreti.

L’arredatrice ed io abbiamo scovato una carta da parati a tenui quadrettini rosa e azzurri con piccoli fiori dorati. L’ho mostrata a Tomas, e mi ha detto: “L’adoro! La scenografa e il regista , inoltre, desideravano assolutamente evitare quegli elementi stereotipati degli anni ’70 come ad esempio le carte da parati con grandi disegni geometrici marroni e arancioni. La Djurkovic ha rivelato che Alfredson aveva l’idea che il Circus fosse costituito da un nucleo esterno all’edificio e, che dentro questo, ci fosse un nucleo interno.

Per differenziarlo allora la Djurkovic decise di ricoprire le pareti non di una semplice carta da parati ma di uno speciale materiale insonorizzante giallo, che avrebbe di certo avuto un grande impatto visivo. I costumi del film furono disegnati e curati da Jacqueline Durran , divenuta famosa per essere stata la costumista di Espiazione e Orgoglio e pregiudizio.

In ogni caso, secondo lei, gli abiti dei membri dell’intelligence, storicamente, erano rimasti semplici e stabili, per questo motivo i suoi collaboratori si sono molto allontanati dagli stereotipi degli anni ‘ La Durran ha citato il costume di George Smiley come esempio dell’attenzione di Alfredson ai dettagli e ai particolari, spiegando che «Tomas ha sempre dichiarato che desiderava che Gary indossasse un vestito grigio».

Inizialmente il regista desiderava che Smiley indossasse solo quell’abito, tutti i giorni. Per lui la Durran ha pensato che sarebbe stato l’unica persona tra i protagonisti, che avrebbe indossato un pantalone leggermente svasato. Secondo lei, quindi, il vestito appropriato per lui, sarebbe stato catturato dallo stile fresco e misterioso che emanava il pantalone.

Invece per il costume di Bill Haydon , interpretato da Colin Firth , la Durran ha immaginato un completo unico che lo rendesse “appariscente”. Mi sono ispirato a quello». Era importante che il film non fosse troppo fresco o pulito» [70]. Lui e Alfredson hanno deciso di cercare un’immagine granulosa e tendenzialmente incolore. Infatti il team desiderava che il pubblico potesse “captare” realmente il periodo. Essi hanno un inizio e una fine, e mi piaceva utilizzare questa tecnica anche per questo film».

La telecamera principale si trovava all’interno della casa mentre due camere secondarie erano poste dietro l’entrata anteriore, e lo inquadravano attraverso un paio di porte diverse. Si deve essere in grado di lasciare ad ogni scena il tempo di cui ha bisogno Anche se il film si sposta avanti e indietro nel tempo, i realizzatori sono stati molto attenti a non avere alcun dettaglio fuori posto.

Le modifiche sono state adeguate sulla base delle osservazioni. Gli effetti speciali sono stati completati durante la fase di post-produzione da Framestore tra giugno e luglio Durante il successivo periodo di post-produzione , gli effetti visivi sono stati controllati da Sirio Quintavalle.

Jim Prideaux afferra un righello e, con un unico colpo ben assestato, stordisce l’uccello. Inizialmente, la scena era stata concepita come una “cucitura visiva” in 2D di alcuni pezzi e mobili catturati sul set di Londra. The jazz-inflected motif for George Smiley is infused with melancholic trumpet and understated piano, while Karla possesses an ebb and flow of harp, and Jim Prideaux a mournful display of violins.

Per la promozione della pellicola vennero diffuse numerose locandine : [93]. Diversi sono gli elementi del film che portarono a divieti nei paesi in cui esso venne distribuito. In Italia invece, a partire dal 25 luglio sono state messe in vendita da Medusa Film due differenti edizioni, entrambe a doppio disco: []. I contenuti speciali disponibili sono: []. Ha un ritmo deliberato e una trama che richiede la massima attenzione, ma ne vale la pena.

One brief look at the cast list will tell you nearly all you need to know about the film, with Oldman, Colin Firth, Tom Hardy, Benedict Cumberbatch, Mark Strong and John Hurt all on fine form in a superbly understated espionage thriller. It’s no surprise that Working Title have reportedly given the green light for Alfredson to shoot a follow up, believed to be an adaptation of Smiley’s People, with Oldman returning as the titular spymaster.

La talpa ha ricevuto recensioni molto positive da parte della critica internazionale. La critica italiana ha risposto in modo particolarmente favorevole al film.

Il critico Valerio Sammarco su Cinematografo. Sia Working Title Films che StudioCanal hanno puntato molto sulla candidatura del film agli Oscar , promuovendolo sia attraverso alcuni manifesti promozionali i cosiddetti For Your Consideration , sia proponendo la pellicola nelle sale cinematografiche statunitensi nel gennaio precedente alla cerimonia di assegnazione. La talpa ha ricevuto tre candidature ai Premi Oscar : miglior attore protagonista a Gary Oldman , migliore sceneggiatura non originale a Bridget O’Connor, Peter Straughan e miglior colonna sonora a Alberto Iglesias.

Il film mostra allo spettatore numerose tematiche. Sono persone che hanno sacrificato la loro vita, l’amore. I prodotti derivati dal film furono diretti verso una vasta gamma di oggetti. Altri progetti. Da Wikipedia, l’enciclopedia libera. La talpa. Giappone — Vietato ai minori di 15 anni India — Vietato ai minori di 18 anni Irlanda — Vietato ai minori di 15 anni se non accompagnati da un adulto Malaysia — Vietato ai minori di 18 anni Messico — Vietato ai minori di 15 anni se non accompagnati da un adulto Norvegia — Vietato ai minori di 15 anni Paesi Bassi — Non consigliato ai minori di 16 anni Portogallo — Vietato ai minori di 12 anni se non accompagnati da un adulto Regno Unito — Vietato ai minori di 15 anni Singapore — Vietato ai minori di 18 anni Stati Uniti d’America — Vietato ai minori di 17 anni se non accompagnati da un adulto Svezia — Vietato ai minori di 15 anni Svizzera Vietato ai minori di 14 anni nel Canton Ginevra Vietato ai minori di 16 anni nel Canton Vaud.

I nomignoli della filastrocca sono utilizzati dal vecchio capo dei servizi inglesi, Controllo, per dare uno pseudonimo a ciascuno dei personaggi sospettati d’essere la talpa. URL consultato il 30 luglio URL consultato il 17 aprile archiviato dall’ url originale il 18 aprile You are never what you seem’: Benedict Cumberbatch on fulfilling his acting dream , in The Daily Mail , 13 luglio URL consultato il 23 marzo URL consultato il 21 settembre archiviato dall’ url originale il 2 aprile URL consultato il 22 settembre archiviato dall’ url originale il 14 maggio URL consultato il 20 ottobre archiviato dall’ url originale il 21 ottobre URL consultato il 2 maggio archiviato dall’ url originale il 4 settembre URL consultato il 30 luglio archiviato dall’ url originale il 17 agosto URL consultato l’11 dicembre archiviato dall’ url originale il 13 gennaio URL consultato il 24 novembre archiviato dall’ url originale il 2 maggio URL consultato il 14 ottobre

 

Applying Avid Pan and Zoom Effect to an Imported Jpeg Image Sequence – Avid Community

 
There are several hundred videos or so that are coming from maybe two or three templates. With the effect editor open, I see the frame with emdia in the record monitor, and I can change the нажмите чтобы перейти. Fredrik Liljeblad. The footage you use in the placeholder segment is the footage the effect uses if you set the Background parameter to Video. Wed, Jan 22 PM.

 
 

Avid media composer 8 pan and zoom free

 
 
So for example if rfee place a 4k clip in a p timeline, Avid will apply a frameflex effect to the clip automatically it should manifest itself as a green dot on the clip, or maybe now it’s a small “s” for “spatial”, not in front of my Avid right now.