Final Cut - Sound resources for video

Sound resources for video

If you are wanting to use legally free sounds, sound effects or music you can download from sites such as
https://www.freesound.org/
http://creativecommons.org/legalmusicforvideos

Just be sure to check the instructions of the artists to ensure you credit correctly.

FInal Cut - Exporting your finished video

FCP - Exporting your finished video

Find out the frame size of your video prior to exporting to ensure you do so at the correct size. To do this, control click on a clip in your timeline > Item Properties > Format.

Next to Frame Size, it will give you the dimensions of the clip (eg 1290 x 1080). Take note of this size. Click cancel.

Deselect the clip in the timeline by clicking on any of the grey area just above the video line.

Make sure the correct Sequence is selected in your browser (other wise you will only export what you currently have selected). 

File > Export > Using Quicktime Conversion

Name and choose location

Format: Click on Options.

Video Settings > Compression type > H.264

Frame rate: Current

Compressor Quality > High or Best

OK

Size:

This will depend on whether you shot in Standard Definition or High Definition

For SD choose SD 768 x 576 or SD PAL 720x576 4:3 or 16:9 for widescreen

For HD choose 1280 x 720 HD

(If you are unsure of the format of your video, command click on a clip in your sequence > item properties. In here you will see the format and the size of the clip, eg 1920 x 1080)

OK

Sound - You can leave the sound settings as is, they should be fine for our projects.

OK. 

The amount of time it takes to export your video will depend on the length and how much editing and effects you've added. 

You can watch a Youtube tutorial on exporting your video here https://www.youtube.com/watch?v=SpJCgL-_7YA

Final Cut - Compressing video using Handbrake and Streamclip

Compressing video using Handbrake and Streamclip

An alternative method to Compressor
You will need to complete both steps 

STEP 1: HANDBRAKE 

Whilst compressing your HD video into an Apple ProRes 422 file using Compressor is ideal, there is an alternative for students who do not have access to the program or are finding it confusing.

Handbrake is an open source video transcoder, meaning you can download it for free on to your own computer and convert your videos quickly and easily. Available for Mac and Windows.

http://handbrake.fr/


Open Handbrake. You will be prompted to select a source video. This is the video you want to compress. Navigate and select the video clip. Click Open.

Browse for the destination (where you want your converted video file to be saved).

Output Settings:
Format - MP4

Video
Video Codec: Mpg4


Press the start button (top left, next to the source button).

You will then need to convert this clip into a video file editable in FCP.

STEP 2: MPEG STREAMCLIP

Download Mpeg Streamclip for your Mac or PC. 
 http://www.squared5.com/

File > Open File
Locate you mpg4 video you just transcoded in Handbrake

File > Export to Quicktime
Compression: Apple Pro Res 422
1920 x 1080 (unscaled)

Click on 'Make Movie'
Re-name file


Your videos should now be editable in FCP

Final Cut - 2nd Generation and Contemporary Video Artists

2nd Generation 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, 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." 

More links:

Pipilotti Rist- I'm Not The Girl Who Misses MuchPipilotti Rist- I Couldn't Agree with you More

Pipilotti Rist - Be Nice To Me (Flatten 04)

Pipilotti Rist- Sip My Ocean (1996)

Bill Viola - The Reflecting Pool
Bill Viola - Ocean Without a Shore - Venice Biennale 2007

Gary Hill - Mouth Piece (1978)
Gary Hill - Site Recite (a prologue) 1989 

Switch (eye), by Tony OURSLER (1996)
Tony Oursler - Axe
David Bowie - Where Are We Now? (video by Tony Oursler)

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.

Final Cut - Adding Music

FCP - Adding Music

If you want to add a song to your Final Cut video, you need to save it in the correct format.

If you are working on a Mac the song should be saved as an AIFF file.

If you are working on a PC the song should be saved as a WAVE file.

Converting you file.

1 Determine the audio sample rate of of your Final Cut sequence by selecting the sequence in the Browser and then choosing Edit > Item Properties.
The audio sample rate appears in the Item Properties window. The default DV preset uses 48 kHz audio. Make a note of the sample rate.

2 Open the song in Quicktime.

3 File > Export.
Choose where you want the file to be saved. This is where the AIFF or WAVE will be saved.

4 Choose Sound to AIFF from the Export pop-up menu.

Click the Options button.
In the sound settings window, set the Compressor to None and the Rate to the sample rate of your sequence. Also choose Stereo unless this is a mono audio file.

Click OK to dismiss the Sound Settings window.

Click the Save button.

5 Import the AIFF or WAVE into your Final Cut  project as you would with any other media file. You can drag the file direct from the Finder into the Browser window or choose File > Import > Files

Final Cut - Effect Filters

FCP - Effect Filters

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.

Final Cut - Motion Controls

FCP - Motion Controls

You can easily control the "motions" of your clips in the timeline to create some very effective looks.

Double click on the clip in the timeline. Click on the 'motion' tab in the Viewer window. Here you will be able to adjust the scale, rotation and position of the image, as well as crop it and feather the edge, adjust the aspect ration and the opacity, amongst other things, just by changing the parameters.

 

For example you could have multiple create a grid of 4 videos just by scaling them to 50 and repositioning the centre of each.

You can easily change the speed or direction of a clip. With the clip selected (either in the timeline or in the browser) > Modify > Change Speed (command J). If you want the clip to play in slow motion change the rate to a number less than 100, if you want it to play quicker change it to a number greater than 100. You can also check the reverse box if you want it to play backwards. The number in the rate box will turn red if reverse is selected.