|
Foreword |
xv |
|
Acknowledgments |
xvii |
|
Introduction |
xix |
Part I |
Production and Technical Concerns |
1 |
Chapter 1 |
Getting Started |
3 |
|
Hardware Overview |
4 |
|
FireWire Cables |
5 |
|
Internal and External Hard Drives |
6 |
|
The DV Deck |
9 |
|
Video Reference Monitor |
9 |
|
Speakers |
10 |
|
Software Requirements |
11 |
|
Tweaking OS X (Jaguar) for Final Cut Express |
12 |
|
The Dock |
12 |
|
Screen Effects |
13 |
|
Displays |
14 |
|
ColorSync |
15 |
|
Energy Saver |
16 |
|
QuickTime |
16 |
|
Sharing |
17 |
|
Date & Time |
17 |
|
Speech |
17 |
|
Universal Access |
18 |
Chapter 2 |
Selecting a DV Camera and Shooting for the Edit |
19 |
|
What to Look for in a DV Camera |
20 |
|
Chip Size |
20 |
|
Optical Zoom |
20 |
|
Lens Size |
20 |
|
Horizontal Resolution |
21 |
|
Pull-Out LCD Monitor |
21 |
|
MegaPixel |
21 |
|
Calibrating Your DV Camera |
21 |
|
Focus |
22 |
|
Aperture (Iris/Exposure) |
22 |
|
Gain |
22 |
|
Shutter Speed |
22 |
|
White Balance |
23 |
|
End Search (Preventing Timecode Break) |
23 |
|
Audio Levels |
23 |
|
Camera Accessories |
24 |
|
Tripod |
24 |
|
Shoe Mount Adapter |
24 |
|
Viewfinder Hood |
25 |
|
Filters |
25 |
|
Wide-Angle Lens |
25 |
|
Camera-Mount Microphone |
26 |
|
Wind Muff |
26 |
|
Boom Pole |
26 |
|
Lavalier Microphone |
27 |
|
Camera-Mount Light |
27 |
|
Stylizing Your Footage |
28 |
|
Using a Clapboard |
28 |
|
Multiple Angles |
29 |
|
Padding |
30 |
|
Composition/Framing |
30 |
|
Getting Multiple Takes |
30 |
|
Continuity |
31 |
|
Producing B-Roll |
31 |
|
Straight and Dutch Shooting |
31 |
|
Zooms, Pans, and Body Motions |
32 |
|
Resolves |
33 |
|
Cheap Lighting Setups |
33 |
|
Disc Reflector |
34 |
Chapter 3 |
Setting Up Final Cut Express |
35 |
|
Installing Final Cut Express |
36 |
|
How Final Cut Express Works |
38 |
|
Tweaking the Final Cut Express Preferences |
39 |
|
The General Tab |
40 |
|
Timeline Options |
42 |
|
External Editors |
43 |
|
Scratch Disks |
44 |
|
The Final Cut Express Interface |
45 |
|
Configuring the Interface |
46 |
|
The Browser |
47 |
|
The Capture Window |
49 |
|
The Viewer |
50 |
|
The Timeline |
53 |
|
The Canvas |
54 |
|
The Tool Box |
56 |
|
The Audio Meter |
57 |
Part II |
Assistant Editing: Getting It In |
59 |
Chapter 4 |
Preparing Your Project |
61 |
|
Getting Your Project Ready |
62 |
|
Opening an Existing Project |
63 |
|
Saving Your Project |
64 |
|
Closing Your Project |
66 |
|
Setting Up the Browser |
67 |
|
Anatomy of the Browser |
68 |
|
Creating New Bins |
69 |
|
Preparing Bins for Capturing |
71 |
|
Creating a New Sequence |
72 |
Chapter 5 |
Bringing Your Media into Final Cut Express |
75 |
|
Preparing the Capture Window |
76 |
|
Anatomy of the Capture Window |
76 |
|
Capturing on the Fly |
81 |
|
Capturing an Individual Clip |
83 |
|
Naming Your Clips |
85 |
|
How Should I Name My Clips? |
87 |
|
Importing Audio |
88 |
|
Importing Photography and Graphics |
91 |
Chapter 6 |
Working the Browser |
95 |
|
Selecting and Sorting: Working a Loaded Browser |
96 |
|
Anatomy of the Browser Iconography |
96 |
|
Selecting |
97 |
|
Sorting |
98 |
|
Finding Media |
101 |
|
Anatomy of the Find Window |
101 |
|
Whoops! My Media Is Offline! |
102 |
Part III |
The Editorial Process: Making the Cut |
107 |
Chapter 7 |
Laying Out the Rough Cut |
109 |
|
Viewing Your Clips in the Viewer |
110 |
|
Anatomy of the Viewer |
110 |
|
Trimming Your Clips |
114 |
|
Adding and Targeting Video and Audio Tracks in the Timeline |
116 |
|
Adding Audio and Video Tracks |
117 |
|
Deleting Tracks |
118 |
|
Target Tracks |
119 |
|
Three-Point Editing: Bringing Clips into the Timeline |
121 |
|
Three-Point Editing |
121 |
|
Using the Canvas |
123 |
|
Straight to the Timeline |
126 |
|
Playing Back Your Cut |
128 |
|
In the Timeline |
129 |
|
In the Canvas |
129 |
Chapter 8 |
Making the Fine Cut |
135 |
|
Working the Timeline and Canvas |
137 |
|
Anatomy of the Timeline |
138 |
|
Anatomy of the Tool Box (Selection Tools) |
139 |
|
Selecting Clips on the Timeline |
141 |
|
Copying and Pasting Clips on the Timeline |
144 |
|
Linking and Unlinking Clips |
148 |
|
Audio and Video |
148 |
|
Stereo Audio |
150 |
|
Working with Markers |
152 |
|
Adding and Altering Markers |
152 |
|
Deleting Markers |
154 |
|
Cutting with the Razor Blade |
156 |
|
Anatomy of the Tool Box (the Razor Blade) |
157 |
|
Using the Mouse to Trim |
160 |
|
Anatomy of the Tool Box (Magnifying Glass) |
161 |
|
Slip and Slide Edits |
165 |
|
Anatomy of the Tool Box (the Slip and Slide Tools) |
165 |
|
Slip Cutting |
165 |
|
Slide Cutting |
168 |
|
Roll and Ripple Edits |
170 |
|
Anatomy of the Tool Box (Roll and Ripple) |
171 |
|
Roll Cutting |
172 |
|
Anatomy of the Trim Edit Window |
173 |
|
Ripple Cutting |
179 |
Chapter 9 |
Video and Audio Transitions |
187 |
|
Inserting Transitions |
188 |
|
Drag and Drop |
189 |
|
Contextual Menu |
192 |
|
The Effects Menu |
194 |
|
Changing the Transition's Duration |
196 |
|
Dragging the Edges |
196 |
|
Ctrl-Clicking |
198 |
|
In the Viewer |
198 |
|
Anatomy of the Viewer for Transition Alterations |
199 |
|
Exploring Alternative Transitions |
205 |
|
Cross Zoom (3D Simulation Effect) |
209 |
|
Additive Dissolve (Dissolve Effect) |
211 |
|
Soft Wipe (FXScript DVEs) |
211 |
|
Oval Iris (Iris Effect) |
213 |
|
Luminance Map (Map Effect) |
215 |
|
Push Slide (Slide Effect) |
215 |
|
Squeeze and Stretch (Stretch Effect) |
217 |
|
Jaws Wipe (Wipe Effect) |
218 |
|
Audio Transitions |
219 |
Chapter 10 |
Tweaking the Audio |
223 |
|
Reading the Audio Meter |
225 |
|
Setting Audio Levels |
227 |
|
In the Timeline |
227 |
|
In the Viewer |
229 |
|
Fine Tuning Your Audio with Keyframes |
233 |
|
Pen Tools |
234 |
|
In the Timeline |
235 |
|
In the Viewer |
238 |
|
The Voice Over Tool |
241 |
|
Anatomy of the Voice Over Tool |
241 |
|
Inserting Audio Filters |
246 |
|
Exploring the Audio Filters |
248 |
|
Anatomy of the Viewer for Filters |
249 |
|
3 Band Equalizer |
250 |
|
Hum Remover |
251 |
|
Reverberation |
251 |
|
Vocal DeEsser and Vocal DePopper |
252 |
Part IV |
Special Effects: Forging Your Aesthetic |
253 |
Chapter 11 |
Media Manipulation |
255 |
|
Altering Video Playback |
256 |
|
Reversing Video |
256 |
|
Changing Video Speed |
258 |
|
Making Still Images in the Cut |
259 |
|
Perspective Changes |
260 |
|
Flops |
260 |
|
Mirror |
262 |
|
Changing Opacity Levels |
264 |
|
Media Manipulation |
267 |
|
Scaling |
268 |
|
Recentering |
272 |
|
Rotating |
274 |
|
Cropping and Distorting Your Video |
274 |
|
Cropping |
275 |
|
Distorting |
278 |
|
Video Distortions |
279 |
|
Blurs |
280 |
|
Invert |
282 |
|
Pond Ripple |
282 |
|
Adding Motion with Keyframes |
284 |
|
Inserting and Coloring Slugs |
290 |
|
Inserting Widescreen Mattes |
293 |
|
Field Blending for "Film-Looking" Video |
297 |
Chapter 12 |
Color and Image Correction |
301 |
|
Color Correction |
302 |
|
Brightness and Contrast |
304 |
|
Color Corrector |
307 |
|
Deepening Natural Video Colors |
314 |
|
Gamma Correction |
315 |
|
Proc Amp |
316 |
|
Artificial Coloring Techniques |
318 |
|
Desaturate |
318 |
|
Sepia Tones |
320 |
|
Tinting Techniques |
320 |
|
Color Corrector (for Alterations) |
322 |
|
Keying Filters |
324 |
|
Luminosity |
325 |
|
Color Keys |
328 |
|
Broadcast-Safe Colors |
330 |
Chapter 13 |
Creating Titles |
333 |
|
Generating Titles |
334 |
|
Anatomy of the Text Generator |
335 |
|
Static Text |
336 |
|
Scrolling Text |
340 |
|
Text Filters and Effects |
342 |
|
Flicker Filter |
342 |
|
Drop Shadows |
343 |
|
Title 3D and Text Crawl |
345 |
|
Anatomy of the Boris FX Title Generator |
345 |
|
Title 3D |
351 |
|
Text Crawl |
354 |
|
Creating Graphics with Adobe Photoshop |
355 |
Part V |
Finishing the Production: Getting It Out |
363 |
Chapter 14 |
Exporting Your Digital Film |
365 |
|
Exporting a Stil
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Final Cut Express : Make the Cut, Final Cut Express: Make the Cut is for anyone who has a DV Camera, Final Cut Express, a Macintosh, and an idea for a digital film. Your idea could be anything: a short documentary about your community, a home video, even a film that you need to mak, Final Cut Express : Make the Cut to the inventory that you are selling on WonderClub
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Final Cut Express : Make the Cut, Final Cut Express: Make the Cut is for anyone who has a DV Camera, Final Cut Express, a Macintosh, and an idea for a digital film. Your idea could be anything: a short documentary about your community, a home video, even a film that you need to mak, Final Cut Express : Make the Cut to your collection on WonderClub
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