Effect filters in FCP

Applying a Filter to a Clip 

You can apply filters to clips in a sequence or to clips in the Browser, but it’s very 

important to understand the distinction between these two methods. 

 If you apply filters to a sequence clip:  The filters are applied only to that clip. The 

master clip in the Browser remains untouched. 

 If you apply filters to a master clip in the Browser:  Instances of that clip already in other 

sequences are untouched, but if you edit the master clip into a sequence, the new 

filter accompanies the clip into the sequence. 

In most cases, you apply filters to individual clips in sequences, not to master clips in the 

Browser. There may be occasions where you want every instance of a master clip edited 

into a sequence to have the same filter applied, such as during color correction. In this 

case, apply the color correction filter to the master clip in the Browser. However, filters 

applied to clips are still independent of each other. If you modify the filter parameters 

for a master clip, the same filter parameters in affiliate clips are not modified. 

Tip:  To maintain consistent filter settings across multiple clips, you can copy and paste 

filter settings using the Paste Attributes command.

To apply a filter to a clip in a sequence, do one of the following: 

• Select one or more clips in the Timeline, then drag a filter from the Effects tab of the Browser to one of the selected clips in the Timeline.

• Select one or more clips in the Timeline, choose Effects > Video Filters, then choose a filter from the submenus. 

Open a sequence clip in the Viewer, then do one of the following: 

• Choose Effects > Video Filters, then choose a filter from the submenus. Drag a filter from the Effects tab of the Browser directly into the Viewer. You can apply a filter to an entire clip or just part of a clip. 

Once you add a filter or transition you may get a red bar running along the top of your timeline, and if you try to play from your time line it may say UNRENDERED on a blue and black screen. This simply means you need to render the clip to be able to view it. This may take a while depending on the degree of the effects and the length of the clips. 

In the menu bar Sequence > Render > Both

Short cut is Command R.

Transitions in FCP

From the FCP manual:

Common Types of Transitions 

A cut, the most basic type of transition, is a transition with no duration; when one shot ends, another one immediately begins, without any overlap. All other transitions gradually replace one shot with another; when one shot ends, another one gradually replaces it. There are three very common transitions used that occur over time: fades, cross dissolves, and wipes. 

A fade-out begins with a shot at full intensity and reduces until it is gone. A fade-in begins with a shot at no intensity and increases until it is full. These are the common “fade to black” and “fade up (from black)” transitions. 

A cross dissolve involves two shots. The first shot fades out while the second shot simultaneously fades in. During the cross dissolve, the two shots are superimposed as they fade. 

A wipe is where the screen splits, moving from one side of the image to the other to gradually reveal the next shot. It is more obvious than a fade or cross dissolve. Final Cut Pro also comes with two audio transitions: a +3 dB cross fade (the default) and a 0 dB cross fade 

Cross Fade (+3 dB):  Performs the same operation as Cross Fade (0 dB), but applies an equal-power ramp to the volume level, rather than a linear ramp.

Cross Fade (0 dB):  Fades the first clip out, while simultaneously fading the second clip in. This effect applies a linear ramp to the volume level. As a result, the volume level dips in the middle of the cross fade. 

Each cross fade results in a different audio level change as the transition plays. Your choice of cross fades depends on the clips you’re transitioning between. Try one, then try the other to see which sounds better.

Using Transitions in Your Sequences 

Transitions, especially dissolves, generally give the viewer an impression of a change in time or location. When very long transitions are used, they become more of a special effect, useful in creating a different atmosphere in your sequence. You can use transitions to: 

• Convey the passing of time between scenes 
• Fade up at the beginning of the movie or scene 
• Create a montage of images 
• Fade out at the end of the movie or scene 
• Create motion graphic effects 
• Soften jump cuts (cuts between two different parts of the same footage) 

To add the default video transition, do one of the following: 

• Select an edit point between two video clips or position the Canvas or Timeline playhead at the desired edit point, then press Command-T.
• Control-click an edit point between two video clips in the Timeline, then choose Add Transition from the shortcut menu. The name of the current default transition appears next to the command in the shortcut menu.

To add a transition from the Effects menu: 

1 Do one of the following: 

• Click an edit point between two clips in your sequence to select it. 
• Position the Canvas or Timeline playhead at the desired edit point. 
• Position the Canvas or Timeline playhead on a transition that’s already been edited into your sequence. 

2 Do one of the following: 

• Choose Effects > Video Transitions, choose the type of transition, then choose the desired transition from the submenu. 
• Choose Effects > Audio Transitions, then choose the desired transition from the submenu.

If there are enough overlapping frames on both sides of the edit point, the selected transition is added to your edit, centered at the edit point.

How Transitions Appear in the Timeline 

Transitions are applied between two adjacent clips in the same track of a sequence in the Timeline. In the Timeline, a transition is displayed as an object overlapping two adjacent clips. You can still see the cut point between the two clips. A dark gray slope in the transition’s icon in your sequence indicates the speed, alignment, and direction of your transition. 

Aligning a Transition in the Timeline 

You can place a transition so that it starts on, centers on, or ends on the edit point between two clips in the Timeline. You should choose a transition alignment based on the editorial effect you want to achieve: 

• Starting on the cut:  Choose this alignment if you want the last frame of the outgoing clip to be fully visible before the transition begins. 

• Centered on the cut:  Choose this alignment if you want the cut point between the two clips to be the midpoint in the transition. 

• Ending on the cut:  Use this alignment if you want the first frame of the incoming clip 
  to be fully visible. 
  
  
  
  

2nd GENERATION VIDEO ARTISTS AND CONTEMPORARY VIDEO ARTISTS

Important and influential 2nd GENERATION VIDEO ARTISTS AND CONTEMPORARY VIDEO ARTISTS:


Marina Abramovic : Starting out as a painter, Abramović subsequently shifted her focus to conceptual work, sound installations and mainly performances. She started in 1973 performing several works such as"Rhythm", in which she intended to stretch the limits of her body and mind. This theme appears in all her work, especially in her collaborative work with Ulay.


Dara Birnbaum : appropriates the television images and works with them in a subversive way, but her explicit intention is to show its superficiality and to unmask its manipulative methods.


John Cage : The American composer John Cage, to whom every kind of sound was considered to be music music, is probably best known for breaking the boundaries between music, performance, noise and sound.


Sophie Calle : Consciously conceals the borders between art and life, fiction and reality, and between the private and public. Transforms her daily life with a series of performances, usually executed as a combination of texts and photographs.


Gary Hill : began working with video, text and sound in 1973 and has produced a major body of single-channel videotapes and video installations that includes some of the most significant works in the field of video art. 


Pierre Huyghe : Much of Huyghe's work examines the structural properties of film and its problematic relationship to reality. His work frequently mixes fact with fiction.


Paul McCarthy : performance work in the 70s; in late 80s video/performance installations.


Pipilotti Rist : aesthetic language quite close to music videos through the combination of music, performance and electronic manipulation. 


Matthew Barney : He is best known as the producer and creator of the CREMASTER films, a series of five visually extravagant works created out of sequence (CREMASTER 4 began the cycle, followed by CREMASTER 1, etc.). The films generally feature Barney in myriad roles, including characters as diverse as a satyr, a magician, a ram, Harry Houdini, and even the infamous murderer Gary Gilmore. 


Shirin Neshat : one of a growing number of contemporary international artists whose work crosses boundaries of nationality, culture, and artistic medium. Using photography and video, she has produced a body of work that investigates the cultural conflicts resulting from the collision of tradition and modernity in the East and West. Neshat turned to the media of photography and video in an attempt to investigate the role of women and feminism in Islamic society as well as her own status as a self-imposed artist in exile.


Soda_Jerk :  remix artists who work across the media of video, photo-collage and installation. By atomising and reassembling recorded culture they aim to manufacture counter-mythologies of the past that open new possibilities for thinking the present. 


Bill Viola : "My work? - says Bill Viola - is focused on a process of self-discovery and self-realization. Video is part of my body. It is intuitive and subconscious." 




Contemporary video art, whilst still including single channel or multi channel works (video works played on the one or multiple screens), has extended into another newish art form; installation. This is where the videos are shown, either projected or on a monitor, amongst an environment incorporating sculptural elements, objects, or intervened space. The video may be projected onto everyday objects, such as in Pipilotti Rist's Himalaya Sisters Living Room, or onto effigies, such as Tony Oursler's many contemporary works.

Matthew Barney's Cremaster Cycle is a pivotal contemporary work, in that it has the aura of a big budget Hollywood feature film/s, yet at it's centre it is conceptual and experimental.

Homework - Video Art

Search the VideoArtWorld website using the categories check boxes for video work which is related to your topic or project. Link it on your blog. Write a short 50-100 words on how this video made you feel.

(don't stop at one... if you find more, keep watching and researching!)

Compressing HD video

If you shot your video in High Definition then you will need to compress it using Compressor prior to importing into FCP. It is very easy to do, but time consuming.

TERMS USED BY COMPRESSOR

There are a few terms used by Compressor that you should feel comfortable with 

before you begin using it. 

A batch is the heart of the transcode process. It contains one or more source media 

files, which are the files you want to convert, or transcode, to another format. Each 

source media file creates its own job. This means that a batch can contain multiple jobs, 

with each job based on its own source media file. 

Each job also has at least one target. The targets define what sort of output file should be 

created by the transcoding process. You can have multiple targets assigned to a job, 

which means that you can easily create multiple output files, each with a different format. 

Each target has three parts: 

1. The setting:  The setting part of a target defines the encoder format that is used, as well 

as a number of other aspects, including a variety of filters and geometry attributes. 

2. The destination:  The destination part of a target defines where the output file is saved. 

It also defines the rules that are used to create the output filename. Compressor 

includes a preference setting that allows you to specify a default destination.

3. The output filename:  You can edit the output filename part of the target if for some 

reason you do not want to use the name generated based on the destination. 

Note:  You can transcode a job only after it has at least one setting assigned to it. 

QUICK AND EASY COMPRESSOR WORKFLOW

If you experience trouble you may need to drag and drop one by one. Sometimes the computer cannot handle such a big load and will crash.

Click on the Apple folder > Formats > Quicktime > Apple Prores 422

I would avoid the select all jobs as outlined about, instead I would drag and drop this into each clip. It is time consuming but it prevents your computer from crashing.

You may like to create a specific folder just for your compressed files so that they are easier to find when you are ready to import them into FCP.

• In the Destinations Tab > Custom. Click on the + button top right of the window > Local > your external hard drive and specific folder. 
• Do this individually again to prevent your computer from crashing.

Alternatively you can follow the instructions below as outlined in the manual.

Once you can see your jobs have been completed in the Batch Monitor you can close it and then close Compressor. You can save it as you quit the program if you wish, but it is not absolutely necessary if it has been done correctly. You can then import the Prores files into FCP following the instructions already outline in a previous tutorial.

Final Cut Interface

Early Video Art

I thought you guys might like to check out some early video artists who's work is YouTube...
Nam June Paik
Vito Acconci
Bruce Nauman
Dennis Oppenheim
VALIE EXPORT

A documentary on early experimentations in video art, titled The New Wave.
Part 1
Part 2
Part 3
Part 4
Part 5
Part 6


You might notice that early video art was used a lot for documenting performance art and body art and to comment critically on the media and television culture. Early video artists, such as Nam June Paik in Magnet TV 1965, and Peter Campus, also explored the technical boundaries of the medium.

Fluxus, an avant garde art group in the early to mid 1960s, included early video artists, performance artists and experimental film artists such as Yoko Ono, Nam June Paik and Wolf Vostell.

The library has some fantastic resources including 'Video Art' (Michael Rush, 2003) and 'Video Art, a guided tour' (Catherine Elwes, 2005), as well as some actually video art recordings.