Editing digital film : integrating Final Cut Pro, Avid, and Media 100

Editing digital film integrating Final Cut Pro, Avid, and Media 100

At long last, film and video editors are using the same systems to edit their projects, and Editing Digital Film is the guide to show them how to do it. This concise reference provides video and film editors familiar with the Avid, Media 100, and Final Cut Pro systems with crucial information they w...

Full description

Bibliographic Details
Main Author: Fowler, Jaime (-)
Format: eBook
Language:Inglés
Published: Boston : Focal Press c2001.
Edition:1st edition
Subjects:
Motion pictures > Editing > Data processing.
Digital video > Editing > Data processing.
See on Biblioteca Universitat Ramon Llull:https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009628855806719
Table of Contents:
  • Front Cover; Editing Digital Film; Copyright Page; Contents; Preface; Acknowledgements; Chapter 1: Tools of the Film Editor; A Tour of the Film Cutting Room; Film Gauges and Shooting Formats; Anamorphics; Soft Mattes versus Hard Mattes; Camera Rolls and Sound Rolls; Numbering Formats; Ink Numbers; Key Numbers; Time Code; Production Notes; Script Supervisor Daily Log; Facing Pages; Lined Scripts; Camera Reports; Sound Reports; Code Books; Slates; When Good Notes Go Bad; Chapter 2: Post Production Workflow; Three Workflow Scenarios; The High-Budget Film Workflow; The Medium-Budget Film Workflow
  • The Ultra-Low-Budget Film WorkflowDV Film Workflow; Chapter 3: Telecine Demystified; The Components of Telecine; Methods of Transfer; NTSC Telecine; PAL Telecine; Telecine Considerations; Telecine Options; Chapter 4: Conforming a Workprint; Getting Started; Creating and Balancing the Reels; Adding SMPTE Leader on the NLE; The Pull List; Starting the Conform; Splicing It Together; Opticals; Marking Workprint for Motor Start and Changeover; Sound; Continuity Reports; Chapter 5: Cut Lists; Negative Cutters; Types of Cut List; The Assemble List; Frame Handles; The Dupe List; The Optical List
  • The Pull ListLok Box; Conformed Workprint; Chapter 6: 24 fps versus Matchback; NTSC: 24 fps Projects; NTSC Matchback; PAL 25 at 24 fps Projects (Telecine B); 1:1 PAL Frame Correspondence (Telecine A); PAL Sound and Picture Digitized Together; PAL Sound and Picture Digitized Separately; A Final Note; Chapter 7: Editing Film on Avid NLEs with FilmScribe; Converting Telecine Files; Setting up the Project; Adjusting Film Settings; Importing ALE Files; Combining Events Based on Scene Number; Combining Events Based on Camera Roll; Merging Events with Known Sources; Checking Key Numbers
  • One Frame DelaysFrame Miscounts; Mislabeled or Duplicate Numbered Tapes; Using Autosync; Film Effects; Film Dissolves; Mattes; Blow-ups; Script Integration; Using FilmScribe; Unique Items for Individual Types of Cut Lists; Change Lists; Preview Code; Quicktime Options; Exporting Audio; Digital Cut; OMF; The OMF Export; Exporting an EDL; Saving the EDL; Some Important Notes about Saving EDLs; Outputting Video; Chapter 8: Editing Film on Media 100 NLEs with Slingshot Pro; About Media 100; About Slingshot and Trakker Technologies; Drag and Drop Functionality; Supported Telecine Logs; Import Logs
  • TLC FilesDailies Log; Log Conversion Procedure; TLC Preferences; Choosing Destinations; Enable Tracks; Syntax Error Correction; Synching Picture with Sound in Media 100; Film Trakker; Film Trakker Preferences; Format; Check Syntax on All Inputs; Flag and Match Unknown Tape Names; Disable SyncLock; Show EDL Comments; Use Feet + Frames vs. Absolute Frames; Cut List Options; Cut List; Dupe Lists; Dupe List Options; Pull List; Pull List Options; Optical List; Optical List Options; Creating the Cut Lists; The Sound Tracer; Sound Tracer Preferences; Running the Lists
  • Chapter 9: Editing Film on Final Cut Pro NLEs with FilmLogic

Similar Items