The filmmaker's guide to Final Cut Pro workflow
The Filmmaker's Guide to Final Cut Pro Workflow is the comprehensive roadmap to affordable postproduction workflow using Final Cut Pro, Cinema Tools, and Pro Tools. Illuminating workflow and the interrelationship of these software applications, it also focuses on cost saving and efficiency, aid...
| Autor principal: | |
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| Autor Corporativo: | |
| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Amsterdam ; Boston :
Focal Press
c2008.
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| Edición: | 1st edition |
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| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009626921106719 |
Tabla de Contenidos:
- Cover; Copyright page; Table of contents; A Letter from the Author; Introduction; The Kodak 35 mm Project; Chapter 1: When Shooting on Film; The Film Format; Telecine; Reverse Telecine for Film and 24P Finish; Reversing Telecine in Cinema Tools; Workflow Overview; Capturing and Preparing Lost Hope and More; Chapter 2: When Shooting Digital Video; Shooting Standard Definition Video at 29.97 FPS; Shooting Standard Definition Digital Video at 24P (23.98); 24PA ?AdvancedŽ Video Capture; Mixing DV Formats; Shooting HD Digital Video at 23.98 or 24 FPS; Capturing in ProRes 422; Tapeless Capture
- Red Camera RedcodeCapturing and Preparing Success and Son from the Ocean of Storms by Glynn Beard; Chapter 3: Initial Audio Workflow, Importing Production Audio, and Syncing; The Production Audio Recorder; Pull Down when Shooting Film; Hard Lock Versus Soft Lock; Smart Slate; Capturing Audio; Syncing in Final Cut Pro; Initial Audio Workflow on Lost Hope and More, Success, and Son; Chapter 4: Editing Picture to Lock; Beginning the Edit; Adding Film Dailies to the Picture Edit; Adding Digital Dailies to the Picture Edit; Problems in Timeline Editing; Changes After the Edit Is Locked
- Editing Lost Hope and More to a Locked CutChapter 5: Finishing on Film; Film Editing Basics; Brief Discussion of Film and Printing; Prints, Film Wind, and Printers; Key Code on Film; Reel Length; Exporting Cut Lists; Pulling and Conforming Work Print; Cutting the Negative; Anamorphic Film Finish; Finishing on Film with Digital Intermediate; Titles in Digital Intermediate; Scanning to Digital Intermediate; Conforming Digital Intermediate; Color Correction in Digital Intermediate; Film Recording; Virtual Film; Virtual Digital Intermediate; Requiem for the Negative Cutter
- Appendix 1: Understanding the NTSC Video Format and Digital Video
