![]() ![]() The method for creating round or feathered masks is shown in the QLab 5 downloadable example workspace. QLab 5: For simple square masks, you can use the Crop controls in the lower left corner of the Geometry tab in the inspector. To fade both effects, the second Group cue contains two Fade cues each targeting one of the Camera cues. ![]() This cue is assigned to the output surface. The second Camera cue uses Camera Patch 2 (the Syphon-only surface) and has the blur effect applied in the Video Effects tab. This cue is assigned to the Syphon-only surface. In the first Group cue, the first Camera cue uses Camera Patch 1 (the FaceTime camera) and has the color controls video effect applied in the Video Effects tab. (You may need to save, close, and re-open the workspace for Syphon to notice when surface’s names are changed.) Once the two surfaces are created, we set Camera Patch 1 to use the FaceTime camera, and Camera Patch 2 to use the Syphon-only surface. The dimensions of the Syphon-only surface should be the same size as the actual output surface. (Syphon is a system for routing video between applications, and is used internally by QLab.įirst, we create two video surfaces: one which will only output to Syphon, and the other which will be for actual output to a projector or monitor. To achieve this in QLab, we take advantage of the fact that any video surfaces which are output via Syphon can be used as sources for Camera cues. In a node-based editor, the set up would look something like this: Then, on a cue, it fades into a sharp black and white image. We’ll use a FaceTime camera which first fades up blurry and with super-saturated color. This example examines how we can use two video effects simultaneously on a camera feed. You can simply go to the Video FX tab of the inspector for a Video, Text, or Camera cue and add as many video effects as your Mac can handle. QLab 5: The solution here is simple QLab supports multiple video effects on cues. But even using a single layer of video with a few layers of stills can still yield good results and extend the video capabilities of QLab in all sorts of useful ways. Īll these techniques require a lot of computer power and you are not going to be able to composite many layers of HD video at full frame rate with blend modes and masks. The workspaces using blend modes require Syphon Quartz Composer. This chapter examines ways in which QLab can achieve each of the above, and how these techniques can be combined to produce complex layered video compositions.
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