After 25 years as an editor, compositor, and VFX artist, frequent Creative COW poster and tutorial author Simon Ubsdell knows what he needs from a keyer -- and knew he wasn't getting good enough results from FCPX or Motion. Discussions in COW forums led him to create the highly regarded Hawaiki Keyer for Mac users using Apple Final Cut Pro X, Apple Motion, and Adobe After Effects and Premiere Pro on Mac as well. Enthusiasm expressed by COW members for its latest release led us to ask Simon for a tour of the even more advanced Hawaiki Keyer 3.0.
After 25 years as an editor, compositor, and VFX artist, frequent Creative COW poster and tutorial author Simon Ubsdell knows what he needs from a keyer -- and knew he wasn't getting good enough results from FCPX or Motion.
Discussions in COW Apple FCPX and Apple Motion forums led him to create the highly regarded Hawaiki Keyer for Mac users using Apple Final Cut Pro X, Apple Motion, and Adobe After Effects and Premiere Pro on Mac as well . Enthusiasm expressed by COW members for its latest release led us to ask Simon for a tour.
The tutorial here for Hawaiki Keyer 3 is intended for the thousands of people already familiar with the power of the Hawaiki Keyer, allowing you to see just how powerful are the changes since HK2. New users are certainly welcome to watch as well, but may be better served by watching the introductory tutorial also posted at Creative COW, "Hawaiki Keyer: An Introductory Tutorial".
That said, we asked Simon, what's happening in Hawaiki Keyer 3?
"For HK3, we went back and had a close look at our previous versions and realised that even though the core tech worked really well and produced great results, there was still more guesswork involved than we'd have liked - a problem common to many keyers and which can often be frustrating for users," he says.
"While we've refined the core algorithms and added some exciting new features, the focus of this release has been about giving you the tools to reduce the guesswork so that you can not only pull a better key but finish the job much faster."
They've set out to do that by removing, reordering and renaming existing parameters, by providing more refined control of existing processes and by adding new and unique views that show both what you need to do and what you've done. "Keying is not a process that lends itself to total automation," Simon points out, "which is why the keyers that try to sell you this will never get you a really great-looking key.
"We've done everything we can to make the process really easy and adjustable, though, and, more importantly, offer you a wide range of different but complementary strategies that you can use depending on the source material."
With the basics in hand, artists keying on Mac will definitely going to want to take a closer look at techniques for pulling the best possible keys.
Still have questions? Dive deeper still into the Hawaiki 3 manual, here, for a complete list of new features, system requirements, FAQ, tutorials, and more.
Hi, I'm Simon Ubsdell, Creative Director of TOKYO PRODUCTIONS, a UK-based boutique creative shop specializing in movie trailers, sales promos and TV Spots for the independent film sector both in the UK and across Europe.
I've been a film and video editor for over 25 years as well as being involved in motion graphics, sound design and mixing, music composition, visual effects and compositing, 3D modelling and animation, and colour grading, not to mention writing, directing and producing, and most recently, software development.
I am also a developer of plug-ins for the video post-production market having released a range of successful and acclaimed products both under the Tokyo brand and as Hawaiki with Robert Mackintosh.
Creative COW stalwart, FCPX whiz, and longtime trailer editing expert Charlie Austin recently joined the folks at FCPWORKS and their FCP EXCHANGE workshop series for a deep dive into managing this particularly intensive form of editing with the newest Apple editing offering. Charlie comes at it with both a wit and precision that you won't want to miss.
After 25 years of working on other people's documentaries, commercials, feature films, filmmaker Michael Angelo's first original project is the inspirational story of the Treeman of Venice Beach, a singular creation of a singular man whose combination of costume, body paint, live foliage, and 10-foot stilts is gently beguiling and deeply inspirational. With over 1000 hours of footage in a crazy number of formats over a period of years, collaboration among a far-flung team of volunteers with varying degrees of expertise (including none at all), A DocumenTree seemed like the ideal project for Michael to jump into Final Cut Pro X. Michael's longtime experience in a variety of disciplines has nevertheless allowed him to come at the issues of media management, metadata, offline-online workflows, and a variety of complex technical issues in some unusual, and, dare we say it, organic ways.
Managing a shared storage environment for Apple FCPX is one thing. Now add 100+ students who are still learning the rules, and the challenges skyrocket. Fortunately, Andrew Gash's experience at Lakeland Florida's Kathleen High School has given him some great ideas for you that promise to make things as foolproof as possible, maximizing sanity and minimizing chaos. Even if your shared editing environment is in a post house or broadcast environment rather than a school, Andrew's advice is well worth heeding!
After 25 years as an editor, compositor, and VFX artist, frequent Creative COW poster and tutorial author Simon Ubsdell knows what he needs from a keyer -- and knew he wasn't getting good enough results from FCPX or Motion. Discussions in COW forums led him to create the highly regarded Hawaiki Keyer. Enthusiasm expressed by COW members for its latest release led us to ask Simon for a tour. If you're keying on a Mac, you're going to want to check this out.
After the usual rabid anticipation, Apple released FCPX 10.2 with a wide range of new features that should excite any pro: new and improved keyframable masks, Library level Smart Collections, improved keyframing performance, 4-Up Scope viewer, the ability to save effects applied to clips.
One of the biggest "issues" people coming from other NLE's still seem to have with FCP X is how the Timeline works. Magnetism! No Tracks! Weird Snorkel Things! Storylines?! It's Crazytown! If you fall into this category, we have two suggestions for you. 1) Read this article by Creative COW's Charlie Austin. 2) Don't fight the timeline! Even experienced X-ers are going to have fun with this one.
Michael Garber has spent hundreds of hours learning the ins and outs of editing broadcast news features with Final Cut Pro X. He describes a workflow that takes advantage of the best that FCPX's new approaches have to offer, while being honest about its limitations. Every editor already working with FCPX, or still just considering it, will benefit from Michael's experience.
Embracing FCP X and the RED Camera System from the earliest releases has been proven a successful choice for filmmaker David Battistella, whose enticing respect for the RED/FCPX workflow shines through from detailed explanation to his finished work. Everything we dreamed RED could be in post is beginning to unfold with the new FCP X update.
FCPX INs and OUTs - Multicam Part ONE Play Video Finally it's here! FCP X has included a multi-camera workflow in its 10.0.3 update. Andy Neil will take you through the INs and OUTs of this amazing new feature in a two-part tutorial (there's THAT much to show).
FCPX INs and OUTs - Multicam Part TWO Play Video This is part two of a two-part tutorial on the new multicam feature added to the 10.0.3 update for Final Cut Pro X. In this part, Andy Neil shows off the custom sync controls, syncing using meta-data and how FCPX handles non-pro sources.