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Chapter 16. Filters And Compositing > Using keyframes to animate filters

Using keyframes to animate filters

You can use keyframes to animate filter settings over time. For more information, see “Using Keyframes” in Chapter 14.

Useful Filters

There's a boatload of filters in Final Cut Pro. Some of them do really useful and cool things that you might not normally associate with the idea of a filter.

Here's the rundown of a few interesting ones that you might have missed:

  • Flop: This Perspective filter flip-flops the image horizontally, vertically, or in both directions at the same time. John Huston used this effect in his World War II documentary The Battle of San Pietro to keep the Allied forces heading right to left, and the Axis forces heading left to right, regardless of which direction they were actually moving during filming.

  • De-interlace: This Video filter can improve the stability of still images by duplicating either of the two fields that make up a video frame. De-interlace is also useful for correcting jittery high-speed movement, if you can accept a slightly softened image quality. Try the Flicker options for the best control over the effect.

  • Timecode Print: Two Video filters (Timecode Reader and Timecode Generator) that simplify making “window burns” (copies of your FCP sequence with visible timecode printed in the frame) for production outside of FCP or for client review copies. Nest a sequence, apply this effect, and render a quick dub for your music composer. If your Mac's processor is speedy enough, FCP's real-time previewing may allow you to make that dub without rendering the Timecode Print filter.

  • View Finder: This Video filter simulates footage from security cameras, home cameras, or pre-production screen tests. Other filters in the Video group—Blink, Strobe, and Image Stabilizer—are also interesting and can be applied creatively. Check 'em out.

  • Sepia: This Image Control filter tints the clip to an old-time, faded film color. Why use this filter when the Tint filter does that as well? Well, with Sepia, you can change the color in the same way as you can using the Tint filter, but you have the advantage of being able to tweak the contrast as well, which you can't do using the Tint filter. If you need to adjust color and contrast, why not have just one filter doing the math instead of two?

  • Echo and Reverb: These two Audio filters help make that pickup dialogue you recorded in your bedroom sound believable when you cut it into the scene you shot in the gymnasium.

  • Film Noise: This QuickTime filter adds hair, scratches, dust, and the look of old film to your video. Lots of people skip the dust and scratches completely and use Film Noise just for a faded-color-film look that renders quickly. This is not, however, a filter that can be found on the Effects tab in the Browser. To use Film Noise, you have to export your clip as a QuickTime movie and access the filter as described in “To export a clip or sequence in another QuickTime format” in Chapter 19. Be sure to set your movie settings to match your audio and video sequence settings. Re-import your processed clip into your project and enjoy your film noise.

  • Joe's Filters: Joe Maller's custom filters, originally written for Final Cut Pro, work just fine in Final Cut Pro 4. Demo versions of these filters are available online. Be sure to check out Joe's documentation for each filter, including the beautiful color illustrations of each filter at work; you can learn a lot about how filters work just by reading his descriptions. Highly recommended. www.joesfilters.com.



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