Category: Uncategorized

Final Cut Pro X – Introduction to Editing – Online Seminars in January, February & March

Join me online for one of my introduction to Final Cut Pro X classes (sign up dates & details below).

In this 2 hour online seminar you will cover the essential skills you need to get started with Apple’s professional video editing software. This is an excellent class for beginners who want to get to grips with Final Cut Pro X quickly.

This includes:

  • Importing Video
  • Reviewing Your Footage
  • Making a Rough Cut / First Edit
  • Refining Your Edit
  • Adding Transitions & Effects
  • Exporting & Uploading to YouTube
  • Time for Questions & Answers

If you have any questions then just drop me a message or send me a tweet @benhalsall .

Once you are signed up you will receive the information about how to login to the online seminar.

Dates Available:

14th January 2016 – Book Tickets

22nd January 2016 – Book Tickets

4th March 2016 – Book Tickets

18th March 2016 – Book Tickets

8th April 2016 – Book Tickets

 

Final Cut Pro X: Advanced Split Screen With Animation @absofrknlutelyy @amieenewson #FCPX #FCPXAMA

Learn how to create customised split screens in Final Cut Pro X using the advanced features of the Draw Mask effect. Working with animated shapes and bezier curves you can create intricate split screens that you can control perfectly in synch with your video. You will also learn how to copy and paste a split screen mask from one clip to another.

You might also enjoy this video which shows you how to create a basic split screen using the mask & scale options in Final Cut Pro X.

Designing is not a profession but an attitude – László Moholy-Nagy [art+research]

László Moholy-Nagy, Vision in Motion, Chicago 1947, p.42.

Design has many connotations. It is the organization of materials and processes in the most productive, economic way, in a harmonious balance of all elements necessary for a certain function. It is not a matter of façade, of mere external appearance; rather it is the essence of products and institutions, penetrating and comprehensive. Designing is a complex and intricate task. It is integration of technological, social and economic requirements, biological necessities, and the psychophysical effects of materials, shape, color, volume, and space: thinking in relationships. The designer must see the periphery as well as the core, the immediate and the ultimate, at least in the biological sense. He must anchor his special job in the complex whole. The designer must be trained not only in the use of materials and various skills, but also in appreciation of organic functions and planning. He must know that design is indivisible, that the internal and external characteristics of a dish, a chair, a table, a machine, painting, sculpture are not to be separated. The idea of design and the profession of the designer has to be transformed from the notion of a specialist function into a generally valid attitude of resourcefulness and inventiveness which allows projects to be seen not in isolation but in relationship with the need of the individual and the community. One cannot simply lift out any subject matter from the complexity of life and try to handle it as an independent unit.

There is design in organization of emotional experiences, in family life, in labor relations, in city planning, in working together as civilized human beings. Ultimately all problems of design merge into one great problem: ‘design for life’. In a healthy society this design for life will encourage every profession and vocation to play its part since the degree of relatedness in all their work gives to any civilization its quality. This implies that it is desirable that everyone should solve his special task with the wide scope of a true “designer” with the new urge to integrated relationships. It further implies that there is no hierarchy of the arts, painting photography, music, poetry, sculpture, architecture, nor of any other fields such as industrial design. They are equally valid departures toward the fusion of function and content in ‘design.’

László Moholy-Nagy

{László Moholy-Nagy was a Hungarian painter and photographer as well as a professor in the Bauhaus school. He was highly influenced by constructivism and a strong advocate of the integration of technology and industry into the arts.}

https://en.wikipedia.org/wiki/László_Moholy-Nagy

http://www.bauhaus.de/en/das_bauhaus/

bauhaus



Futurist Manifest / Manifesto of Futurism [art+research] #art #controversial #problematic

MANIFESTO OF FUTURISM

  1. We intend to sing the love of danger, the habit of energy and fearlessness.
  2. Courage, audacity, and revolt will ue essential elements of our poetry.
  3. Up to now literature has exalted a pensive immobility, ecstasy, and sleep. We intend to exalt aggressive action, a feverish insomnia, the racer’s stride, the mortal leap, the punch and the slap.
  4. We affirm that the world’s magnificence has been enriched by a new beauty: the beauty of speed. A racing car whose hood is adorned with great pipes, like serpents of explosive breath—a roaring car that seems to ride on grapeshot is more beautiful than the Victory of Samothrace.
  5. We want to hymn the man at the wheel, who hurls the lance of his spirit across the Earth, along the circle of its orbit.
  6. The poet must spend himself with ardor, splendor, and generosity, to swell the enthusiastic fervor of the primordial elements.
  7. Except in struggle, there is no more beauty. No work without an aggressive character can be a masterpiece. Poetry must be conceived as a violent attack on unknown forces, to reduce and prostrate them before man.
  8. We stand on the last promontory of the centuries!… Why should we look back, when what we want is to break down the mysterious doors of the Impossible? Time and Space died yesterday. We already live in the absolute, because we have created eternal, omnipresent speed.
  9. We will glorify war—the world’s only hygiene—militarism, patriotism, the destructive gesture of freedom-bringers, beautiful ideas worth dying for, and scorn for woman.
  10. We will destroy the museums, libraries, academies of every kind, will fight moralism, feminism, every opportunistic or utilitarian cowardice.
  11. We will sing of great crowds excited by work, by pleasure, and by riot; we will sing of the multicolored, polyphonic tides of revolution in the modern capitals; we will sing of the vibrant nightly fervor of arsenals and shipyards blazing with violent electric moons; greedy railway stations that devour smoke-plumed serpents; factories hung on clouds by the crooked lines of their smoke; bridges that stride the rivers like giant gymnasts, flashing in the sun with a glitter of knives; adventurous steamers that sniff the horizon; deep-chested locomotives whose wheels paw the tracks like the hooves of enormous steel horses bridled by tubing; and the sleek flight of planes whose propellers chatter in the wind like banners and seem to cheer like an enthusiastic crowd.

ART CONCRET – BASIS OF CONCRETE PAINTING [art+research]

We say:

  1. Art is universal.
  2. A work of art must be entirely conceived and shaped by the mind before its execution. It shall not receive anything of nature’s or sensuality’s or sentimentality’s formal data. We want to exclude lyricism, drama, symbolism, and so on.
  3. The painting must be entirely built up with purely plastic elements, namely surfaces and colors. A pictorial element does not have any meaning beyond “itself”; as a consequence, a painting does not have any meaning other than “itself”.
  4. The construction of a painting, as well as that of its elements, must be simple and visually controllable.
  5. The painting technique must be mechanic, i.e., exact, anti-impressionistic.
  6. An effort toward absolute clarity is mandatory.

    Carlsund, Doesbourg, He ́lion, Tutundjian and Wantz.

(English translation above found here)

Art_Concret_Manifesto