It's recommended that you use the CCCP in conjunction with CCCP Insurgent, a separate piece of freeware that identifies any codecs currently installed on your computer so that you can disable them according to the instructional wiki on the Project's Web site. The CCCP is focused on decoding video files, not encoding them, so there are issues with some video production and editing software--for instance, it doesn't play well with some Nero components, and it asks to disable them when you install the pack.
However, it's worth the work to see the unusual anime shorts and demos these fan groups produce. The CCCP Project maintains extensive instructions and documentation on installing, using, and troubleshooting the pack, including known conflicts and issues and how to resolve them. The codecs are ready for Windows 7. Free YouTube Downloader. IObit Uninstaller. Internet Download Manager.
Advanced SystemCare Free. VLC Media Player. MacX YouTube Downloader. Microsoft Office YTD Video Downloader. Adobe Photoshop CC. There is also an SMS text messaging campaign manager component, and Crowd Control, which allows listeners to log in using their existing Facebook or Twitter accounts.
Using Commotion, listeners can make requests real-time, and can vote on songs they would like to hear on the station or even purchase. You are always in control of the pool of songs available to vote on. Commotion is truly a differentiated software solution for integrating with your listening audience. More than a way to gain listeners, Commotion is literally a rare competitive advantage to help your station succeed.
Mark Shander, a computer show host and syndicator, is based in Phoenix, AZ. You can contact him at mark shander. If you do not see it, check your spam folder. What's Wrong with This Picture? The Broadcasters' Desktop Resource This was kind of annoying because many times, you need to use not only the same tools in many different projects, but sometimes even the same media clips with the same effects. Once you get the animation and the timing down, you really don't want to have to set the whole thing up again from the ground up.
If you've ever had to put an animated bug in the bottom corner of a screen doing ALMOST the exact same thing times, you'll know how annoying and time-consuming this can be. Since you can't have more than one project open at a time, the easiest way for Pinnacle Systems to address this was to allow you to export a layer from one project and import it to another.
Now, instead of having to start from scratch or render and re-composite things like this, you can take a layer you want to re-use and slip it right into another project's composition. The layer will be exactly as it was in the originating project. And if for some reason the media it was linked to goes off-line, you can simply use Replace Footage to hook it back up. This flexibility is very close to the non-linear editor's ability to juggle parts of projects around and will really cut out a lot of repetitive fooling around and rendering.
New Interface Stuff Pinnacle made some changes to the interface that are quite welcome. The company seems to have realized that they are generally dealing with film and video editors, rather than PhotoShop artists, and have adapted some of the windows to be more intuitive to our motion- and timeline-based perspective. Some of these things aren't even well documented and are natural things that just seemed weird in previous versions.
For instance, the preferences now allow you to view the frame numbers throughout the application in the Timecode standardization of "" rather than as merely consecutively numbered frames. How many times have I had to stop and do the short mental math? Its just one of those things you take for granted until you don't have it. And Commotion finally has it. In past versions, all Player controls were on a single little palette that served whichever clip was active. That single palette did its job just fine, but it was never obvious WHICH window its transport controls were affecting until you hit Play.
To scrub through a clip, you had to activate the Clip or Composite window, and then scrub by dragging in another window. It worked but it involved two steps for what intuitively should only require one. Pinnacle also did some re-tooling of the Timeline window.
Since you can now Group nest layers, they had to come up with a way to view the Master Composition broken down into the tree-like structure of its nests and layers.
This had to be a separate window from the layer window itself, since it would be too easy to confuse each layer's attributes and parameters with the tree structure of the project. But it had to be close and easily accessible to the Timeline, since that is where it would be relevant. The tree-structure view allows quick structural changes to be made to the Master Composition, which may contain far more layers and nests than can possibly be displayed in the Timeline window.
Another nice, frequently valuable window that is new is the Parameters window. It used to be the Effects Controls window, a small and relatively useless window that only functioned when a plug-in had specially designed parameters that you could access there.
These were few and far between, and most of Commotion's plug-in parameters were only adjustable at the level of the Timeline window. And the effect stays there in the Parameter window until you remove it. This means that you can load up the effect being applied to one layer, then continue to tweak it in this window long after you have stopped working directly with the layer the effect is applied to in the Timeline. These last two developments are probably most indicative of Pinnacle's attention to the needs of their user base.
Compositors need wide ranging access to their projects and when you have up to thirty layers in a composition, it can be difficult to change three attributes at a time and keep them all in view on the desktop. Commotion 3. There are many more, but this review has to end somewhere. Time Remapping!!! Yep, you got it. You can change the duration and speed of any layer in the Master Composition by simply adjusting its Time parameter.
And this time, it's actually set up as a usable parameter of a layer and not a buried menu item, as in other applications. The ability to change the speed of a video clip in the past has always been tricky in compositing applications and has been treated as an effect indirectly applied from a menu setting.
For previous releases, see the Apache Archive. The commons mailing lists act as the main support forum. The user list is suitable for most library usage queries. The dev list is intended for the development discussion. Please remember that the lists are shared between all commons components, so prefix your email by [codec].
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