| Acknowledgments |
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xix | |
| Introduction |
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xxi | |
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Chapter 1 Getting Started |
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1 | (38) |
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1 | (2) |
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Loading Your Avid Software |
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3 | (1) |
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The Many Parts of Your System |
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3 | (2) |
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The Core Parts: Operating System, Processor, System Memory, Graphics Card, and Internal Hard Drive |
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3 | (1) |
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4 | (1) |
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5 | (3) |
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6 | (1) |
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7 | (1) |
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7 | (1) |
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8 | (1) |
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8 | (1) |
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8 | (5) |
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1 Gather Tapes, Files, and Drives |
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9 | (1) |
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10 | (1) |
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10 | (1) |
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11 | (1) |
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11 | (1) |
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12 | (1) |
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7 Perform Sound Work and Color Correction |
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12 | (1) |
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13 | (1) |
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13 | (1) |
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14 | (17) |
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14 | (2) |
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16 | (1) |
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16 | (3) |
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19 | (3) |
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22 | (3) |
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25 | (1) |
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26 | (1) |
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26 | (1) |
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27 | (1) |
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28 | (1) |
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28 | (1) |
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29 | (1) |
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29 | (1) |
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30 | (1) |
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30 | (1) |
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30 | (1) |
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Starting an Editing Session |
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31 | (5) |
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32 | (1) |
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Adding Shots to Your Sequence |
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33 | (3) |
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Ending an Editing Session |
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36 | (1) |
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Script for Where's the Bloody Money? |
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36 | (3) |
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39 | (28) |
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39 | (1) |
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Starting Your Second Editing Session |
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40 | (1) |
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Basic Editing Skills: A Review |
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40 | (3) |
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41 | (1) |
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Using the Position Indicator as Your IN Point in the Timeline |
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42 | (1) |
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42 | (1) |
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43 | (2) |
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Selecting and Deselecting Tracks |
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44 | (1) |
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45 | (2) |
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45 | (1) |
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46 | (1) |
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46 | (1) |
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Changing the Timeline View |
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47 | (3) |
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47 | (1) |
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Scaling and Scrolling the Timeline |
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48 | (1) |
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49 | (1) |
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49 | (1) |
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Marking Clips in the Timeline |
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50 | (1) |
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51 | (1) |
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52 | (3) |
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It Takes Three Marks to Make an Edit |
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55 | (2) |
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56 | (1) |
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57 | (1) |
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58 | (1) |
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58 | (2) |
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60 | (3) |
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Adding and Navigating Markers |
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61 | (1) |
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62 | (1) |
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Deleting Sequences and Clips |
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63 | (2) |
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65 | (2) |
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67 | (24) |
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67 | (1) |
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68 | (1) |
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68 | (1) |
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69 | (1) |
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70 | (1) |
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70 | (1) |
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71 | (1) |
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Getting into Single-Roller Trim Mode |
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71 | (1) |
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72 | (4) |
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72 | (4) |
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Reviewing the Transition Using the Play Loop button |
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76 | (1) |
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76 | (2) |
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77 | (1) |
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78 | (1) |
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79 | (1) |
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79 | (1) |
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Importance of Trim Mode in Your Editing Workflow |
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79 | (1) |
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Using Dual-Roller Trim Mode |
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80 | (3) |
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81 | (1) |
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82 | (1) |
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Dual-Roller Trimming Using J-K-L |
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82 | (1) |
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Changing from Single-Roller to Dual-Roller Trim Mode |
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83 | (1) |
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Adding and Removing Rollers |
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83 | (1) |
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Advanced Trim Mode Techniques |
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83 | (3) |
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83 | (1) |
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Trim One Side, Then the Other |
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84 | (1) |
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Dragging to an IN Point or OUT Point |
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85 | (1) |
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Sync Problems in Single-Roller Trim Mode |
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86 | (1) |
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Enter Trim Mode on Selected Tracks |
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86 | (1) |
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87 | (1) |
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87 | (1) |
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87 | (1) |
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88 | (1) |
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88 | (1) |
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Add Rollers and Remove Rollers |
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88 | (1) |
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88 | (1) |
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88 | (1) |
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88 | (3) |
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Chapter 4 Using the Smart Tool |
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91 | (18) |
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91 | (1) |
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92 | (5) |
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Extract/Splice Segment Mode Button |
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92 | (3) |
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Lift/Overwrite Segment Mode Button |
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95 | (2) |
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Moving Sound to Different Tracks |
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97 | (1) |
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Using the Keyboard to Enable Segment Mode Buttons |
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98 | (2) |
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Combining Segment Mode Functionality via the Smart Tool |
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99 | (1) |
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Lassoing to Get into Segment Mode |
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100 | (1) |
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Selecting Many Segments in the Timeline |
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101 | (1) |
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Using Segment Mode to Delete Clips from the Timeline |
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102 | (1) |
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Disabling the Segment Mode Buttons by Clicking in the Timecode Track |
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103 | (1) |
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103 | (2) |
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103 | (1) |
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104 | (1) |
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Using the Keyboard to Enable Trim Mode Buttons |
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105 | (3) |
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106 | (1) |
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Combining Trim Mode Functionality via the Smart Tool |
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106 | (1) |
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Combining All Modes via the Smart Tool |
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107 | (1) |
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108 | (1) |
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Chapter 5 A Few Editing Tips |
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109 | (12) |
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109 | (1) |
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110 | (2) |
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112 | (1) |
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113 | (1) |
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Story Structure: Beginning, Middle, and End |
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114 | (1) |
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115 | (1) |
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Short is Better than Long |
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116 | (1) |
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Screening a Work in Progress |
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116 | (1) |
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Being Your Own Projectionist |
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117 | (1) |
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117 | (1) |
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118 | (1) |
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119 | (2) |
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Chapter 6 Customization and Organization |
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121 | (28) |
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121 | (2) |
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Mapping Buttons and Menu Items to Your Keyboard |
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123 | (5) |
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Mapping Menu Items to Your Keyboard |
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126 | (1) |
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Mapping Commands to Your User Interface |
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127 | (1) |
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128 | (1) |
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Adding Custom Data to Your Bin View |
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129 | (5) |
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130 | (4) |
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134 | (4) |
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Customizing Your Timeline |
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138 | (5) |
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138 | (3) |
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141 | (1) |
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Other Useful Timeline Settings |
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142 | (1) |
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Mapping Your Views to the Keyboard |
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142 | (1) |
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143 | (3) |
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Exporting and Importing Your User Profile |
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146 | (1) |
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147 | (2) |
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Chapter 7 Saving Your Work |
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149 | (8) |
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If It's a Computer, It Will Crash |
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149 | (1) |
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149 | (1) |
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150 | (1) |
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151 | (3) |
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Drag and Drop Your MediaFiles Folder |
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152 | (1) |
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153 | (1) |
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154 | (2) |
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Retrieving a File from the Attic |
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154 | (2) |
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156 | (1) |
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156 | (1) |
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157 | (34) |
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157 | (1) |
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158 | (1) |
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Adding and Deleting Audio Tracks |
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159 | (1) |
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160 | (1) |
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161 | (1) |
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162 | (1) |
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162 | (1) |
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163 | (1) |
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164 | (1) |
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Audio Tool: What Level is Correct? |
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164 | (9) |
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165 | (4) |
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Changing Levels with the Audio Mixer |
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169 | (1) |
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170 | (1) |
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171 | (1) |
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Changing Level and Pan on Multiple Clips |
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171 | (2) |
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173 | (3) |
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173 | (1) |
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174 | (2) |
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Placing Keyframes Automatically |
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176 | (3) |
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179 | (1) |
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179 | (1) |
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180 | (2) |
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182 | (3) |
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183 | (1) |
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184 | (1) |
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185 | (1) |
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When to Use the Different Audio Tools |
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185 | (1) |
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186 | (1) |
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Analyzing Audio at the Cut Point |
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186 | (1) |
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Showing the Source Waveform: Using Toggle Source/Record |
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187 | (1) |
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187 | (1) |
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188 | (1) |
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188 | (1) |
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189 | (2) |
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191 | (28) |
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191 | (1) |
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192 | (1) |
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193 | (2) |
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Applying Transition Effects |
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194 | (1) |
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194 | (1) |
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Using the Quick Transition |
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195 | (2) |
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197 | (1) |
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198 | (1) |
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199 | (1) |
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199 | (9) |
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More Effect Editing Tools |
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203 | (2) |
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205 | (3) |
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Saving an Effect as a Template |
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208 | (1) |
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Transition and Segment Effect Quick Review |
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208 | (1) |
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209 | (7) |
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209 | (2) |
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211 | (1) |
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Creating a Clip Using the Motion Effect Editor |
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211 | (1) |
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Rendering Two-Field Motion Effects |
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212 | (1) |
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213 | (3) |
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216 | (3) |
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216 | (1) |
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Rendering Multiple Effects |
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217 | (1) |
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217 | (2) |
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219 | (24) |
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Opening the Avid Title Tool |
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219 | (2) |
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221 | (1) |
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Creating Your First Title |
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221 | (2) |
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222 | (1) |
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223 | (1) |
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224 | (1) |
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225 | (1) |
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Creating Title Style Sheets |
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226 | (1) |
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227 | (1) |
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227 | (1) |
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228 | (1) |
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229 | (3) |
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230 | (2) |
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232 | (1) |
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232 | (1) |
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233 | (1) |
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Cutting Titles into Your Sequence |
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234 | (2) |
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Adjusting the Title Length |
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235 | (1) |
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Adding Fades to Your Title |
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236 | (1) |
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236 | (1) |
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237 | (4) |
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Cutting in Rolling Titles |
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239 | (1) |
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240 | (1) |
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Adjusting the Speed of the Rolling Titles |
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240 | (1) |
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241 | (1) |
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242 | (1) |
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Chapter 11 Keeping in Sync |
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243 | (12) |
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243 | (1) |
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The Source of Your Problems |
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243 | (1) |
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244 | (1) |
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Many Tracks Mean Many Sync Problems |
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245 | (1) |
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246 | (1) |
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247 | (3) |
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Fixing the Problem by Trimming in Two Directions |
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250 | (1) |
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251 | (1) |
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252 | (1) |
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253 | (1) |
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253 | (2) |
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Chapter 12 Additional Editing and Effects Techniques |
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255 | (30) |
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255 | (4) |
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255 | (2) |
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Open Bin: Accessing Materials from Other Projects |
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257 | (1) |
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Duplicating and Cloning Bin Contents |
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258 | (1) |
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Intermediate Editing and Trimming Techniques |
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259 | (5) |
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259 | (2) |
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261 | (1) |
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262 | (2) |
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264 | (2) |
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266 | (11) |
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266 | (3) |
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269 | (3) |
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3D Warp or 3D Picture-in-Picture |
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272 | (2) |
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274 | (3) |
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277 | (7) |
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277 | (2) |
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279 | (2) |
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281 | (1) |
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282 | (2) |
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284 | (1) |
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Chapter 13 Color Correction |
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285 | (18) |
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285 | (9) |
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285 | (1) |
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Launching the Color Correction Tool |
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286 | (1) |
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287 | (4) |
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291 | (3) |
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The Color Correction Workflow |
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294 | (7) |
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Automatic Color Correction |
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298 | (1) |
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299 | (1) |
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300 | (1) |
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301 | (2) |
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Chapter 14 Script Integration |
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303 | (24) |
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A Few Notes About ScriptSync |
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303 | (1) |
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304 | (1) |
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304 | (1) |
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305 | (1) |
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305 | (1) |
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Bringing the Script into Media Composer |
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306 | (1) |
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Linking Clips to the Script |
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307 | (1) |
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307 | (3) |
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Changing the Appearance of the Slate |
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310 | (1) |
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310 | (1) |
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310 | (1) |
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Deleting Takes and Slates |
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311 | (1) |
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Loading and Playing Takes |
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311 | (1) |
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312 | (1) |
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312 | (3) |
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Placing Script Marks Manually |
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313 | (2) |
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The Fastest Way: ScriptSync |
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315 | (3) |
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318 | (1) |
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318 | (1) |
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319 | (1) |
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320 | (1) |
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320 | (1) |
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321 | (1) |
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321 | (1) |
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322 | (1) |
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322 | (1) |
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Script for Gaffer's Delight |
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323 | (4) |
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327 | (20) |
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327 | (7) |
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329 | (1) |
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329 | (1) |
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330 | (1) |
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330 | (1) |
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331 | (1) |
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331 | (1) |
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Things to Know about Frame Rates |
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332 | (1) |
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333 | (1) |
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Working with HD and Hardware |
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334 | (3) |
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335 | (1) |
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336 | (1) |
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Creating HD Titles and Importing HD Graphics |
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337 | (1) |
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Mixing SD and HD in the Timeline |
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337 | (1) |
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Using Transcode to Downconvert to SD |
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337 | (8) |
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Downconverting an HD Sequence to SD |
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337 | (2) |
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Downconverting HD Master Clips to SD |
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339 | (1) |
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Relinking to Your HD Media |
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340 | (2) |
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342 | (1) |
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343 | (2) |
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345 | (2) |
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Chapter 16 Inputting Media |
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347 | (34) |
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Project Format and Media Creation Settings |
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347 | (4) |
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351 | (1) |
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Import Options for Graphics |
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352 | (9) |
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353 | (2) |
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File Pixel to Video Mapping |
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355 | (1) |
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356 | (1) |
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Autodetect Sequentially Numbered Files |
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356 | (1) |
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356 | (1) |
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357 | (1) |
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357 | (2) |
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359 | (1) |
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Importing a QuickTime Movie |
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360 | (1) |
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361 | (1) |
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Accessing Media Using Avid Media Access (AMA) |
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361 | (8) |
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Setting up Your AMA Environment |
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362 | (3) |
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365 | (1) |
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Consolidating or Transcoding AMA Media |
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366 | (2) |
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368 | (1) |
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368 | (1) |
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369 | (1) |
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369 | (1) |
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Organizing Yourself: Tape and Bin Prep |
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369 | (1) |
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Connecting Your Equipment |
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370 | (3) |
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370 | (1) |
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Configuring a Deck or Camera |
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370 | (3) |
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373 | (6) |
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Working with the Capture Tool |
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374 | (1) |
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Establishing Deck Recognition |
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375 | (1) |
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376 | (3) |
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379 | (1) |
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379 | (1) |
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380 | (1) |
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380 | (1) |
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Chapter 17 Outputting Your Sequence |
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381 | (32) |
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381 | (3) |
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381 | (1) |
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381 | (1) |
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382 | (2) |
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384 | (2) |
|
Connecting and Powering up a Deck or Camera |
|
|
384 | (1) |
|
|
|
384 | (2) |
|
Manually Recording to Tape |
|
|
386 | (1) |
|
Using the Digital Cut Tool to Crash Record |
|
|
387 | (1) |
|
Outputting a Frame-Accurate Version of Your Sequence |
|
|
388 | (4) |
|
Changing Your Sequence Timecode |
|
|
389 | (1) |
|
Understanding Insert Edits and Assemble Edits |
|
|
389 | (1) |
|
Performing the Frame-Accurate Digital Cut |
|
|
390 | (2) |
|
|
|
392 | (1) |
|
Uprezing Your Offline Sequence |
|
|
392 | (5) |
|
Deleting Unreferenced Precomputes |
|
|
393 | (1) |
|
Preparing to UpRez Your Sequence |
|
|
393 | (1) |
|
|
|
394 | (1) |
|
|
|
395 | (2) |
|
|
|
397 | (1) |
|
Replacing Your Audio Tracks |
|
|
397 | (1) |
|
|
|
398 | (1) |
|
|
|
398 | (4) |
|
|
|
399 | (1) |
|
Exporting a Production Still |
|
|
400 | (2) |
|
|
|
402 | (6) |
|
Exporting a QuickTime Movie |
|
|
403 | (1) |
|
Exporting a High-Resolution QuickTime Movie |
|
|
403 | (2) |
|
Exporting a QuickTime Movie for the Web |
|
|
405 | (3) |
|
Exporting a Quicktime Reference Movie |
|
|
408 | (1) |
|
|
|
408 | (3) |
|
|
|
411 | (1) |
|
|
|
411 | (2) |
|
Chapter 18 Shooting on Film, Cutting on Avid |
|
|
413 | (18) |
|
|
|
413 | (1) |
|
Processing and Transferring the Film |
|
|
414 | (1) |
|
Film Transferred to Video Runs at 23.976 |
|
|
414 | (1) |
|
|
|
415 | (2) |
|
|
|
416 | (1) |
|
Instructions to Your Lab and Telecine Facility |
|
|
417 | (3) |
|
|
|
417 | (1) |
|
|
|
417 | (1) |
|
Instructions to the Transfer Facility |
|
|
418 | (2) |
|
|
|
420 | (1) |
|
|
|
421 | (1) |
|
Syncing Picture and Sound |
|
|
422 | (6) |
|
|
|
427 | (1) |
|
|
|
428 | (1) |
|
|
|
428 | (2) |
|
|
|
429 | (1) |
|
Creating the Digital Intermediate |
|
|
430 | (1) |
|
|
|
430 | (1) |
|
Chapter 19 Present and Future |
|
|
431 | (4) |
|
Where Do You Go From Here? |
|
|
431 | (1) |
|
Information on the Internet |
|
|
432 | (1) |
|
Getting a Job as an Avid Editor |
|
|
433 | (1) |
|
|
|
433 | (1) |
|
|
|
434 | (1) |
| Index |
|
435 | (18) |
| DVD Instructions |
|
453 | |
