New Workflows, New Controls, And New Templates Help You Work Smarter Titler Pro 7 is here! This new release of our video titling software will help you speed production time as you enhance the professional look and feel of the titles and graphics in your work. The upgraded title plugin, with a re-tooled NTX engine
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Making Titling Easier with Full, Dynamic Timeline Control In our fast-paced editing environments, where changing and replacing assets at the drop of a hat is more important than ever, having a quick solution for last minute graphic changes is very important. I can’t say how many times I’ve had to re-animate or re-render my
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Easy, High-Quality Rolling Credits As video editors, every new editing trend can be a struggle to keep up with, especially when working to meet tight deadlines and keep up with the latest techniques. Luckily, we can count on one industry constant, rolling credits – a classic element in film and broadcast has been a
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One of the most common problems I run into as a one-man production team is keeping tabs on all my assets and organizing all of my files, especially while working under tight deadlines. Fortunately, I’ve been able to minimize my struggles with Titler Pro using a simple workflow I can use over and over in most of my projects, saving me headaches and precious billable hours.
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One of the main stand out features available in Titler Pro is Multi-Title Management. This feature allows you to make ripple edits across your whole project. Every time you add a new title to your project, the Title List will populate. You can click on any title on the list and make changes at will.
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With a bottom-of-the-barrel budget, a commercial client asks you to quickly create stylized looks and artistic transitions for their production that no one has seen before. With no animator or graphics artist on staff they’re depending on you to whip something up fast, creative and cheap…big surprise.
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Lackluster camerawork and weather problems has taken the life out of your b-roll in an otherwise lively production. These are the shots that set the whole mood. You need to amp it up and create a feeling.
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You have a surreal scene-and for mood, you want to bring out the blue of the dress your star is wearing while diminishing the other colors in the scene…but a color corrector can’t really give you the control (or the speed) you’re looking for without time-eating tweaking.
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Your producer just came into the bay in a snit: the car commercial you’re doing this morning has a glitch…the car that was shot is not the new color scheme your ad is supposed to be hyping, and the commercial is due yesterday. You don’t have a budget for a colorist…you’re on your own.
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You’re editing a crime show and suddenly a call from your producer: an interview subject has just gotten cold feet and wants to have their identity obscured. You could start the tedious manual keyframe blur tracking process, but that will take a while.
The clock is ticking…
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