About the Author |
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v | |
Acknowledgments |
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vii | |
Introduction |
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1 | (3) |
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1 | (1) |
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A Note Regarding Keyboard Shortcuts |
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2 | (2) |
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4 | (24) |
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5 | (2) |
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Copy the Files from CameraCard to ProjectStructure |
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5 | (1) |
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6 | (1) |
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Getting Started in the Project Panel |
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7 | (3) |
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7 | (1) |
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8 | (1) |
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8 | (1) |
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8 | (1) |
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Organizing the Project Panel |
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9 | (1) |
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9 | (1) |
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10 | (4) |
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11 | (1) |
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11 | (1) |
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12 | (2) |
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14 | (3) |
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Creating a Sequence based off the Source Monitor |
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14 | (3) |
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17 | (2) |
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17 | (1) |
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18 | (1) |
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19 | (1) |
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19 | (1) |
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Adding More Clips to the Timeline |
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20 | (4) |
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20 | (3) |
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23 | (1) |
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23 | (1) |
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23 | (1) |
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Basic Trimming and Rearranging |
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24 | (4) |
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24 | (1) |
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24 | (1) |
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25 | (1) |
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25 | (1) |
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26 | (1) |
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27 | (1) |
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28 | (28) |
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Other Ways of Adding Shots to a Timeline |
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29 | (5) |
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29 | (1) |
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Adding with the Source Monitor |
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30 | (2) |
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32 | (2) |
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34 | (11) |
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34 | (1) |
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Track Select Forward Tool (A) |
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34 | (1) |
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35 | (1) |
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35 | (1) |
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36 | (1) |
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Editing Just Video or Audio |
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37 | (1) |
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38 | (1) |
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38 | (1) |
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39 | (1) |
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40 | (1) |
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41 | (4) |
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Let's Clean It Up a Little |
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45 | (5) |
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Pulling In Audio from Another Take |
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45 | (1) |
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46 | (4) |
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50 | (4) |
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Add the Music Track to the Timeline |
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50 | (1) |
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51 | (1) |
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51 | (1) |
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52 | (1) |
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53 | (1) |
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54 | (2) |
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54 | (1) |
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55 | (1) |
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3 Create a Long-Form Interview |
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56 | (26) |
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Logging Footage with Markers |
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57 | (6) |
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57 | (1) |
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58 | (1) |
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58 | (3) |
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61 | (1) |
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Subclips: An (Optional) Alternate Approach |
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61 | (2) |
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63 | (7) |
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Denote Which Clips You Want to Use |
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63 | (2) |
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65 | (1) |
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Create a New Sequence from Scratch |
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65 | (5) |
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70 | (6) |
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70 | (1) |
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71 | (1) |
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Remove a Pause with a Morph Cut Transition |
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72 | (4) |
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76 | (6) |
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76 | (4) |
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Add a Transition to the Title |
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80 | (2) |
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82 | (15) |
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Working with Graphic Layers |
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83 | (8) |
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83 | (2) |
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85 | (1) |
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85 | (1) |
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86 | (3) |
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89 | (1) |
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90 | (1) |
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91 | (4) |
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92 | (1) |
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93 | (1) |
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94 | (1) |
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Duplicate What We've Just Done |
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94 | (1) |
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95 | (2) |
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95 | (1) |
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95 | (2) |
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5 Multi-Cam, Audio and Color |
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97 | (31) |
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98 | (3) |
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98 | (2) |
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100 | (1) |
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101 | (3) |
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Create Multi-Camera Source Sequence |
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101 | (1) |
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Preview Your Multi-Cam Clip |
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102 | (2) |
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104 | (3) |
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104 | (1) |
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105 | (2) |
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107 | (6) |
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107 | (2) |
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109 | (2) |
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111 | (2) |
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113 | (15) |
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Working Within the Multi-Cam Timeline |
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113 | (1) |
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113 | (3) |
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116 | (3) |
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Lumetri for Color Correction |
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119 | (2) |
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Lumetri for Color Grading |
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121 | (5) |
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126 | (2) |
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1 The Interface & Importing |
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128 | (33) |
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129 | (2) |
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129 | (1) |
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129 | (1) |
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To Rename or Not to Rename? |
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130 | (1) |
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131 | (9) |
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131 | (1) |
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Resizing and Rearranging Panels |
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131 | (2) |
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Creating Custom Workspaces |
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133 | (1) |
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134 | (6) |
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140 | (5) |
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141 | (2) |
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143 | (2) |
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145 | (1) |
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Importing Photoshop and Illustrator Files |
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145 | (1) |
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145 | (1) |
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146 | (3) |
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149 | (2) |
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149 | (2) |
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151 | (3) |
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151 | (3) |
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154 | (4) |
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154 | (1) |
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155 | (1) |
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Manually Creating Proxies |
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156 | (1) |
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156 | (2) |
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158 | (2) |
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158 | (1) |
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159 | (1) |
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160 | (1) |
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161 | (70) |
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162 | (9) |
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162 | (1) |
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162 | (2) |
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164 | (5) |
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Source and Program Monitor Buttons |
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169 | (1) |
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170 | (1) |
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170 | (1) |
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171 | (8) |
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171 | (4) |
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Manually Adjusting Sequence Settings |
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175 | (1) |
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176 | (2) |
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178 | (1) |
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Bringing Footage into the Timeline |
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179 | (12) |
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179 | (1) |
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180 | (1) |
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181 | (4) |
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185 | (1) |
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186 | (1) |
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187 | (1) |
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Three- and Four-Point Editing |
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188 | (1) |
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Patching and Targeting Tracks |
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189 | (1) |
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190 | (1) |
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191 | (9) |
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191 | (1) |
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191 | (1) |
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192 | (5) |
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197 | (1) |
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197 | (1) |
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197 | (1) |
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197 | (2) |
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199 | (1) |
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199 | (1) |
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199 | (1) |
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200 | (4) |
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Close Other Panels in Group |
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200 | (1) |
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200 | (1) |
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200 | (1) |
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201 | (1) |
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Audio Waveforms Use Label Color |
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201 | (1) |
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Rectified Audio Waveforms |
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201 | (1) |
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Logarithmic Waveform Scaling |
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201 | (1) |
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202 | (1) |
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202 | (1) |
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202 | (1) |
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Create Preset from Sequence |
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203 | (1) |
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203 | (1) |
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203 | (1) |
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Multi-Camera Audio Follows Video |
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203 | (1) |
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Multi-Camera Selection Top Down |
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203 | (1) |
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204 | (11) |
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204 | (1) |
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204 | (1) |
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204 | (1) |
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204 | (1) |
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204 | (1) |
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205 | (1) |
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Edit Clip in Adobe Audition |
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205 | (1) |
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205 | (1) |
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Replace With After Effects Composition |
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205 | (1) |
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205 | (1) |
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206 | (1) |
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207 | (1) |
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207 | (1) |
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207 | (1) |
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207 | (1) |
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Synchronize and Merge Clips |
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207 | (1) |
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207 | (1) |
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208 | (1) |
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208 | (1) |
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209 | (1) |
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209 | (1) |
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210 | (1) |
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210 | (1) |
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211 | (1) |
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211 | (2) |
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213 | (1) |
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213 | (1) |
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213 | (1) |
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213 | (1) |
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213 | (1) |
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213 | (1) |
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213 | (1) |
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213 | (1) |
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213 | (1) |
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214 | (1) |
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214 | (1) |
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215 | (4) |
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215 | (2) |
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217 | (2) |
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219 | (7) |
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219 | (1) |
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Track Select Forward Tool (A) |
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220 | (1) |
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221 | (1) |
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221 | (1) |
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222 | (1) |
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222 | (1) |
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223 | (1) |
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223 | (1) |
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224 | (1) |
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Rectangle and Ellipse Tools |
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225 | (1) |
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225 | (1) |
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225 | (1) |
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225 | (1) |
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226 | (3) |
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226 | (1) |
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Cut, Copy, and Paste Clips |
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227 | (1) |
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227 | (1) |
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Editing with the Keyboard |
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228 | (1) |
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229 | (2) |
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3 Configuring & Syncing AV |
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231 | (16) |
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232 | (4) |
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Modify Audio Channels Before You Edit |
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232 | (3) |
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Modifying Audio Tracks Already in a Sequence |
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235 | (1) |
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Defaulting a Stereo Track to Two Mono Tracks |
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235 | (1) |
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Syncing External Audio Sources |
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236 | (4) |
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236 | (1) |
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237 | (1) |
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237 | (1) |
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237 | (1) |
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237 | (1) |
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238 | (2) |
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240 | (7) |
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240 | (3) |
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243 | (2) |
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Editing Multi-Cam Timelines |
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245 | (1) |
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246 | (1) |
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247 | (66) |
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248 | (23) |
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248 | (1) |
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249 | (3) |
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252 | (1) |
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253 | (2) |
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255 | (14) |
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269 | (2) |
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Scaling 4K (and Bigger) Footage |
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271 | (3) |
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Set and Scale to Frame Size |
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272 | (2) |
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274 | (4) |
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274 | (1) |
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275 | (2) |
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277 | (1) |
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278 | (1) |
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The Rectangle and Ellipse Tools |
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278 | (1) |
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279 | (1) |
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279 | (1) |
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280 | (9) |
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280 | (1) |
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281 | (2) |
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283 | (4) |
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287 | (2) |
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289 | (2) |
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Adding Essential Graphics |
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289 | (2) |
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291 | (14) |
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291 | (1) |
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292 | (4) |
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296 | (2) |
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Advanced Keyframe Interpolation |
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298 | (4) |
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302 | (1) |
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Editing Keyframes in the Timeline |
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303 | (2) |
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305 | (8) |
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Open Captions, Closed Captions, or Subtitles? |
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305 | (1) |
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305 | (3) |
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308 | (2) |
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310 | (1) |
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310 | (2) |
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312 | (1) |
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5 Effects, Color & Transitions |
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313 | (87) |
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314 | (1) |
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315 | (1) |
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316 | (41) |
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316 | (2) |
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318 | (1) |
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319 | (2) |
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321 | (3) |
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324 | (6) |
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330 | (5) |
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335 | (1) |
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336 | (4) |
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340 | (4) |
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344 | (1) |
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345 | (1) |
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346 | (1) |
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347 | (4) |
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351 | (1) |
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352 | (2) |
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354 | (1) |
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355 | (1) |
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356 | (1) |
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357 | (23) |
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How Much Data Is in Your Pixels? |
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357 | (1) |
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358 | (1) |
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358 | (1) |
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HDR (High Dynamic Range) Footage |
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359 | (1) |
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359 | (7) |
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366 | (14) |
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Copy, Paste, and Remove Attributes |
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380 | (1) |
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380 | (1) |
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380 | (1) |
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380 | (1) |
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381 | (1) |
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Create an Adjustment Layer |
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381 | (1) |
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381 | (1) |
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382 | (1) |
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Adding Effects to the Master Properties |
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382 | (1) |
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382 | (1) |
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383 | (1) |
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384 | (1) |
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Rendering Your Frames to the Disk |
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384 | (1) |
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385 | (3) |
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Applying Video Transitions |
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385 | (1) |
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Editing Video Transitions |
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386 | (2) |
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All the Video Transitions |
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388 | (10) |
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388 | (1) |
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388 | (2) |
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390 | (4) |
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394 | (1) |
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394 | (1) |
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395 | (1) |
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396 | (1) |
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397 | (1) |
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398 | (2) |
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The Three Audio Transitions |
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398 | (2) |
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6 Audio Effects & Mastering |
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400 | (35) |
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401 | (2) |
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401 | (1) |
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401 | (2) |
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403 | (1) |
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404 | (2) |
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Keyframing in the Audio Clip Mixer |
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404 | (2) |
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406 | (2) |
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406 | (2) |
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408 | (14) |
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Amplitude and Compression |
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408 | (5) |
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413 | (1) |
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413 | (4) |
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417 | (1) |
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Noise Reduction/Restoration |
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417 | (1) |
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418 | (1) |
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419 | (2) |
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421 | (1) |
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421 | (1) |
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422 | (8) |
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The Audio Track Mixer Interface |
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423 | (1) |
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423 | (1) |
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424 | (2) |
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Keyframing in the Track Mixer |
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426 | (2) |
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428 | (1) |
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428 | (2) |
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430 | (2) |
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430 | (1) |
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431 | (1) |
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431 | (1) |
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431 | (1) |
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431 | (1) |
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432 | (3) |
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432 | (1) |
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433 | (1) |
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Panning in the Track Mixer |
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433 | (2) |
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435 | (18) |
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436 | (1) |
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436 | (1) |
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Lossy versus Non-Lossy Codecs |
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436 | (1) |
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437 | (7) |
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437 | (4) |
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Exporting Using Adobe Media Encoder |
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441 | (2) |
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443 | (1) |
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Exporting with a Higher Bit Depth |
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443 | (1) |
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443 | (1) |
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444 | (2) |
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The Project Manager Dialog Box |
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444 | (1) |
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445 | (1) |
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Sending Clips to After Effects |
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446 | (2) |
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446 | (1) |
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Replace with After Effects Composition |
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446 | (2) |
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Editing Clips in Adobe Audition |
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448 | (4) |
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Exporting an OMF for a DAW |
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448 | (1) |
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Sending Clips to Audition |
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448 | (1) |
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Sending Sequences to Audition |
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449 | (1) |
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450 | (2) |
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Editing Stills in Photoshop |
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452 | (1) |
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8 Speed, Time & Preferences |
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453 | (13) |
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Working with Multiple Frame Rates |
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454 | (1) |
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24fps Footage in a 30fps Timeline |
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454 | (1) |
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30fps Footage in a 24fps Timeline |
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454 | (1) |
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455 | (2) |
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The Interpret Footage Window |
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455 | (1) |
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Interpreting 24fps to 30fps |
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456 | (1) |
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Interpreting 30fps to 24fps |
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456 | (1) |
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456 | (1) |
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Variable Frame Rate Footage |
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457 | (1) |
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Check to See If Your Footage Is VFR |
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457 | (1) |
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457 | (1) |
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Not Working with VFR Footage |
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457 | (1) |
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458 | (2) |
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The Clip Speed/Duration Interface |
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458 | (1) |
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459 | (1) |
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460 | (2) |
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460 | (1) |
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In Conjunction with Other Keyframes |
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461 | (1) |
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462 | (4) |
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462 | (1) |
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462 | (1) |
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462 | (1) |
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462 | (1) |
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462 | (1) |
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463 | (1) |
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463 | (1) |
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463 | (1) |
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463 | (1) |
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463 | (1) |
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463 | (1) |
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463 | (1) |
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463 | (1) |
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464 | (1) |
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464 | (1) |
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464 | (1) |
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|
464 | (1) |
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|
464 | (2) |
Keyboard Shortcuts |
|
466 | (11) |
Index |
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477 | |