PROGUN LESSON - PROFESSIONAL MUZZLE FIRE FOR FINAL CUT PRO X - PIXEL FILM STUDIOS http://store.pixelfilmstudios.com/plugin/final-cut-pro-x-tutorial-progun Welcome to a Pro Gun lesson from Pixel Film Studios. Pro Gun allows Final Cut Pro X users to add realistic muzzle fire to their movie. From pistols to assault rifles, Pro Gun comes with 36 gunfire presets that can be customized and oriented in 3D space to accommodate any footage. Step 1 - Preparing the timeline Let's begin by selecting a clip in the FCPX media library and dragging it to the timeline. Then, Move the playhead to where you want the gunfire to occur in the clip. Now, go to the titles library in FCPX, and scan through the Pro Gun presets. Select the burst that best matches the gun in your scene. Drag the title layer above your clip onto the timeline so that it starts where the playhead is sitting. Step 2 - Positioning the Fire Now, we will need to position rotate the muzzle fire to where we want it. Grab the center puck in the Viewer window and move it so that it lines up with the chamber of the gun. Then click and drag the outer circle to adjust the size of the flame. Once you have the muzzle fire where you want it, go to the FCPX Inspector window and use the Left-Right and Up-Down parameters to pivot and rotate the fire so that it lines up with the end of the gun. For older versions of Final Cut Pro X, you may need to double click the refresh button in the Inspector window once you have finished making your changes. This will tell Final Cut Pro X to re-render your fire in it's new location. Step 3 - Positioning the Flash Now, let’s position and shape the light emitting from the fire so that it interacts with the environment in a realistic way. Click and drag the puck with the arrow attached it to move the center of the flash over the gun fire. Then, use the 8-points on the outside to select the area that flash will effect. For this example, we want the light to shine on the shooter’s front side, but not on his back or the wall behind him, so we will line up the points along the side of his body. Step 4 - Customizing the Gunfire Now that the fire and flash are set in their desired locations, it's time to customize the look of them. First, change the blend mode that best works with the lighting in your scene. Then, adjust the Fire’s hue and saturation controls to your liking. Next, use the Fire Blur and Back Points parameters to control the texture and structure of your muzzle fire. Finally, adjust the color, brightness and softness of the flash. Step 5 - Animating the Gunfire Next we will need to animate the gunfire to work with our scene. PROGUN is designed to automatically fire bullets over the duration of the title layer. If you want want your shooter to only fire a single bullet, you can click and drag the end of the title layer so that it is only 1 or 2 frames long. For this example, our shooter will fire a continuos round of bullets as he is moving through the room, so we will leave the title layer at its default length. But to ensure that the fire remains in the correct spot at all times, we will need to key frame the position of it. First, let’s place the playhead at the front of the muzzle fire title layer. Then, go to the Inspector window and turn the fire opacity to 0. This will help us see the end of the gun better as it moves. Now place a key frame on the fire position parameter. Move the playhead down the timeline 5 to 7 frames using the right arrow key on the keyboard. Now drag the on-screen control to the end of the gun as it moves around. Because this position is different than the previous frame … It will auto-keyframe in Final Cut Pro X. Continue this process every 5 to 7 frames until it is complete. Then turn the Fire opacity back to 100. You may need to repeat this step with the rotation parameters if the guns angle changes over the duration of the shooting. Final Touches Now for some Final Touches. To help composite the gunfire seamlessly into the scene….. Compound your clip with all of the muzzle fire titles used in the scene. Select everything you stacked in the timeline, then hold control and click on one of the clips. Now select New Compound Clip in the pop-up. Next, Apply a color grade to the compound clip, it will make the gunfire and the shooter feel like apart of the same environment. For this example, we will use a Pixel Film Studios “ProHue” filter.

• published: 12 Mar 2014
• views: 3943

The Visualization of Noise Angel Audio/Video RMX (2002) by Philipp Geist Viola Fissek/Philipp Geist A self-taught artist based in Berlin since 1999, Philipp Geist (VIDEOGEIST) works internationally through the media of video, performance, photography, and painting. In 2008, he projected his video installation Time Fades across the Piazzetta open space of the Kulturforum in Berlin. In 2007, he screened his video installation Time Lines on the facade of the museum for contemporary art Palazzo delle Esposizioni in the center of Rome. His projects are characterized by a complex integration of space, sound, and moving images. Time plays an important conceptual role in his work, in which this apparently fixed and constant variable is repeatedly subjected to variations. Music and sound are central elements of Philipp Geist’s work. He enters into a dialogue with music in many of his creations, and this influences the speed, the intensity of the effects, the degree of abstraction, the colorfulness, and also the content of his images. In the course of this process, visual configurations can emerge that do not necessarily accompany the music, but instead challenge it. The moving image is not given a subordinate role to the music, rather, the two media enjoy equal status. In this way, Geist seeks to overcome the dependency of image on music frequently found in the genre of concert and club visuals. Angel Audio/Video RMX also transcends traditional audiovisual conventions, especially those of the music video. The work is an experimental and new artistic interpretation of a concert performed by Angel, a musical pairing of Ilpo Väisänen (Pan Sonic) and Dirk Dresselhaus (SchneiderTM). Their noise project combines guitar vibrations with electronic sounds, distorted and transformed by means of feedback and deep, long-drawn-out drones. Angel played the duo concert that Geist would work with as part of the Z2000 exhibition in 2000, performing at a factory floor in Berlin. The concert featured monitors showing a video especially created for the music by Geist (Ill. 1). The material point of departure for Angel AudioVideo RMX was a recording of this concert with a handheld camera. Geist cut this footage up into tiny video frames, so that the sound was also fragmented and reassembled. This type of rearrangement is often used in the electronic music scene when doing a remix: artists interpret and transform the work of other musicians in order to create something new. Angel Audio/Video RMX is characterized by a distinctive type of interaction between image and sound, unlike the traditional process of creation for a music video, in which appropriate images are chosen to accompany the piece of music. It is true that in this kind of audiovisual remix, the sequence of sounds is determined by the video editing, but the procedure is nonetheless based on an equivalent status for image and sound—since each editorial decision was based on both the audio and the video tracks. The remix, not unlike Angel’s sound, has an arc of tension that gradually rises, often remains constant for a prolonged phase, and in some parts varies only very slightly. Continuous acceleration and increase in intensity are followed by a pause, and then another escalation, and now the more rapid and increasingly brief segments in black-and-white contrast are joined by the complementary colors red and green. The musicians are shown in different positions, variously sitting or standing. The video track is played backward and forward, and the frames alternate between positive and negative. The drone set is characterized by long notes, humming, and constant buzzing. The occasionally aggressive volume, the perpetual buzzing, and the shrill notes of the noise project are transformed into an intense, almost corporeal visuality capable of producing dizziness or even headaches in the viewer. Geist translates the acute stimulation of the auditory sense into visual irritation. He achieves this not only through a rapid succession of images, in which the eye searches for something to grasp on, but also because the images quiver and the red flickering light becomes more and more intense. Time and space are central to the concept of the remix. The films shown at the concert as visuals, as well as the walls of the old factory and an adjoining installation featured in the exhibition, are all incorporated into the video. So are the spectators: a recording of their applause is cut up and becomes another component of the new chain of sound events. The boundaries between documentation, citation, interpretation, and new composition dissolve both in the visual and in the auditory realms. In addition to the spatial dimension, the temporal dimension is also shifted: the spectators are still applauding one work, but have long become part of another. Angel Audio/Video RMX thus represents a space-time distortion. The real-time duration of the performance is altered in that it is

• published: 26 Mar 2009
• views: 887