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1 | (12) |
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Digital Video and the Independent Filmmaker |
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3 | (2) |
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Digital Video in the Home and Office |
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4 | (1) |
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What Type of Equipment Do I Need? |
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5 | (1) |
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6 | (2) |
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6 | (2) |
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8 | (2) |
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10 | (1) |
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10 | (1) |
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10 | (1) |
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Part III: Post-Production |
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11 | (1) |
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11 | (2) |
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13 | (22) |
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Writing for Digital Video |
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14 | (11) |
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15 | (1) |
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16 | (2) |
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18 | (1) |
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19 | (3) |
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Writing for Corporate and Industrial Productions |
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22 | (2) |
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Writing for Documentaries |
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24 | (1) |
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25 | (1) |
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25 | (6) |
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26 | (1) |
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Choosing a Shooting Order |
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26 | (3) |
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29 | (1) |
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Scheduling for Documentaries |
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30 | (1) |
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31 | (2) |
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33 | (2) |
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35 | (36) |
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36 | (7) |
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36 | (2) |
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38 | (1) |
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38 | (1) |
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39 | (2) |
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41 | (1) |
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Physical Characteristics of Videotape |
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42 | (1) |
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43 | (10) |
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43 | (2) |
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45 | (1) |
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45 | (1) |
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46 | (4) |
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50 | (1) |
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50 | (3) |
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Types of Digital Video Files |
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53 | (1) |
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Video Broadcast Standards |
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53 | (2) |
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55 | (3) |
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Mono, Stereo, and Surround Sound |
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56 | (1) |
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56 | (1) |
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Types of Digital Audio Files |
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57 | (1) |
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High-Definition (HD) Video |
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58 | (3) |
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60 | (1) |
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60 | (1) |
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61 | (7) |
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63 | (2) |
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65 | (3) |
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68 | (1) |
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Exercise: Look at Some Video Quality Examples |
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68 | (1) |
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69 | (2) |
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71 | (28) |
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72 | (9) |
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73 | (6) |
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79 | (2) |
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81 | (5) |
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81 | (2) |
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83 | (1) |
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84 | (2) |
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86 | (10) |
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87 | (2) |
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89 | (1) |
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90 | (1) |
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91 | (2) |
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93 | (2) |
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95 | (1) |
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95 | (1) |
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Use Your Director of Photography |
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95 | (1) |
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96 | (2) |
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Tripods, Steadicams, and Dollies |
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96 | (2) |
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98 | (1) |
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98 | (1) |
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99 | (26) |
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100 | (12) |
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102 | (7) |
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109 | (1) |
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Camera Diagrams and Shot Lists |
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110 | (2) |
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112 | (4) |
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116 | (4) |
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117 | (1) |
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118 | (2) |
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120 | (2) |
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122 | (1) |
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123 | (2) |
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125 | (26) |
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126 | (1) |
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126 | (2) |
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127 | (1) |
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128 | (2) |
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128 | (2) |
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130 | (7) |
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130 | (1) |
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131 | (3) |
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Controlling the Quality of Light |
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134 | (3) |
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137 | (3) |
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140 | (2) |
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141 | (1) |
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Mixing Daylight and Interior Light |
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141 | (1) |
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142 | (1) |
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142 | (2) |
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Enhancing Existing Daylight |
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143 | (1) |
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144 | (1) |
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Video and Low-Light Situations |
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145 | (1) |
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Special Lighting Situations |
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145 | (4) |
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Using Lights to Create a Scene |
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146 | (1) |
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Lighting for Video-to-Film Transfers |
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146 | (2) |
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Lighting for Blue and Green Screen |
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148 | (1) |
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149 | (1) |
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150 | (1) |
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151 | (28) |
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152 | (23) |
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154 | (12) |
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166 | (2) |
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168 | (4) |
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172 | (3) |
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175 | (1) |
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175 | (2) |
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175 | (2) |
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177 | (1) |
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178 | (1) |
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179 | (26) |
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180 | (2) |
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180 | (1) |
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181 | (1) |
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Putting Plans into Action |
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182 | (1) |
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182 | (3) |
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184 | (1) |
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184 | (1) |
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185 | (14) |
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185 | (8) |
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193 | (3) |
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196 | (3) |
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199 | (3) |
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Script Supervising for Scripted Projects |
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200 | (1) |
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201 | (1) |
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202 | (1) |
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202 | (2) |
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204 | (1) |
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205 | (30) |
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206 | (1) |
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207 | (14) |
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207 | (5) |
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212 | (4) |
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216 | (1) |
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216 | (3) |
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219 | (2) |
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221 | (9) |
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221 | (6) |
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Getting the Right Sound for the Picture |
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227 | (1) |
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228 | (1) |
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229 | (1) |
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Selecting an Audio Mode on Your Camera |
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230 | (1) |
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230 | (3) |
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231 | (1) |
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231 | (2) |
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233 | (1) |
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233 | (2) |
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235 | (28) |
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236 | (1) |
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236 | (2) |
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236 | (1) |
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237 | (1) |
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Choosing a Video Interface |
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238 | (6) |
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238 | (3) |
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241 | (1) |
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242 | (2) |
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244 | (16) |
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246 | (1) |
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246 | (1) |
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246 | (3) |
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249 | (1) |
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249 | (3) |
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Building a Macintosh System |
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252 | (1) |
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Building a Windows System |
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253 | (2) |
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255 | (1) |
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Edit Controllers and Custom Keyboards |
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256 | (1) |
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257 | (1) |
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258 | (1) |
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259 | (1) |
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Exercise: Know What You Need |
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260 | (1) |
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261 | (2) |
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Non-Linear Editing Software |
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263 | (26) |
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264 | (10) |
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264 | (2) |
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266 | (4) |
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270 | (2) |
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272 | (2) |
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Logging, Capturing, and Importing |
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274 | (3) |
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277 | (4) |
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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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282 | (1) |
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283 | (1) |
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283 | (1) |
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283 | (1) |
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Editing Applications Compared |
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284 | (3) |
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Exercise: Know What You Need |
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287 | (1) |
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288 | (1) |
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289 | (18) |
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290 | (1) |
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291 | (2) |
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293 | (6) |
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293 | (2) |
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SDI, FireWire, or Analog I/O |
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295 | (1) |
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296 | (1) |
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296 | (1) |
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297 | (1) |
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297 | (2) |
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299 | (2) |
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299 | (1) |
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299 | (1) |
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300 | (1) |
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300 | (1) |
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301 | (3) |
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Professional Video Monitor Features |
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302 | (2) |
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304 | (1) |
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Exercise: Hardware Checklist Before You Start |
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305 | (1) |
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306 | (1) |
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307 | (38) |
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How to Organize Your Project |
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308 | (3) |
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Create a Numbering System |
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308 | (1) |
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Make Sure All Your Videotape Has Timecode |
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309 | (1) |
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Keep a Database of All Your Media |
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309 | (1) |
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310 | (1) |
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Use the Organizational Tools of Your Editing Software |
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310 | (1) |
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311 | (4) |
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Drop Frame and Non-Drop Frame Timecode |
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311 | (1) |
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312 | (1) |
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How Timecode Is Stored on Videotape |
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312 | (1) |
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Keycode: Timecode for Film Sources |
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313 | (2) |
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315 | (5) |
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316 | (4) |
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320 | (2) |
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How Good Does Your Project Need to Look? |
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320 | (1) |
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Digital Online and Offline |
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320 | (2) |
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322 | (4) |
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322 | (1) |
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323 | (1) |
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324 | (2) |
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326 | (11) |
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327 | (10) |
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337 | (3) |
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338 | (2) |
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340 | (3) |
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342 | (1) |
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342 | (1) |
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343 | (1) |
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343 | (2) |
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345 | (26) |
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346 | (4) |
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346 | (4) |
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350 | (4) |
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350 | (2) |
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Master Shot-Style Coverage |
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352 | (2) |
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354 | (9) |
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Cutaways and Reaction Shots |
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355 | (1) |
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356 | (2) |
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358 | (1) |
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359 | (1) |
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Matching Emotion and Tone |
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360 | (1) |
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360 | (1) |
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Hard Sound Effects and Music |
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360 | (3) |
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Transitions between Scenes |
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363 | (1) |
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363 | (1) |
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Dissolves, Fades, and Wipes |
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363 | (1) |
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364 | (1) |
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Clearing Frame and Natural ``Wipes'' |
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364 | (1) |
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Solving Technical Problems |
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364 | (3) |
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365 | (1) |
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Working with Temporary Elements |
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365 | (1) |
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Working with Low-Res Footage |
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365 | (2) |
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367 | (4) |
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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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369 | (2) |
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371 | (32) |
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372 | (2) |
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374 | (1) |
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Editing Sound in Your NLE |
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374 | (3) |
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Dedicated Sound Editing Apps |
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377 | (7) |
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382 | (2) |
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384 | (3) |
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384 | (1) |
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385 | (1) |
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Is There Extraneous Noise in the Shot? |
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385 | (1) |
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Are There Bad Video Edits That Can Be Reinforced with Audio? |
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385 | (1) |
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386 | (1) |
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Are There Vocal Problems You Need to Correct? |
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386 | (1) |
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387 | (2) |
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388 | (1) |
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Non-Dialog Voice Recordings |
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389 | (1) |
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389 | (4) |
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392 | (1) |
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393 | (2) |
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394 | (1) |
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395 | (5) |
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395 | (2) |
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397 | (1) |
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398 | (1) |
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399 | (1) |
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400 | (1) |
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401 | (2) |
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403 | (22) |
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To Compress, or Not to Compress |
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404 | (4) |
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408 | (15) |
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409 | (1) |
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Too Much of a Good Thing: When Color Correction Goes Too Far |
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410 | (3) |
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Correcting Bad White Balance |
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413 | (5) |
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Matching Footage from Different Cameras and Shoots |
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418 | (2) |
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420 | (1) |
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Using Tracks and Layers to Adjust Color |
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420 | (2) |
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422 | (1) |
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Correcting Color for Film |
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423 | (1) |
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423 | (1) |
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423 | (1) |
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424 | (1) |
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Titling and Simple Compositing |
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425 | (48) |
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Titles and Simple Graphics |
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426 | (8) |
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Making Titles in Your NLE |
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427 | (5) |
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432 | (2) |
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Creating Titles in Photoshop |
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434 | (1) |
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434 | (29) |
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435 | (13) |
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448 | (3) |
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451 | (8) |
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More Sophisticated Mattes |
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459 | (4) |
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463 | (8) |
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463 | (7) |
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470 | (1) |
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471 | (1) |
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471 | (2) |
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Rotoscoping and More Compositing |
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473 | (50) |
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474 | (38) |
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475 | (6) |
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Better Rotoscoping through Filters |
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481 | (3) |
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Rotoscoping an Alpha Channel |
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484 | (7) |
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Creating Animated Alpha Channels (or ``You, Too, Can Make Travelling Mattes'') |
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491 | (6) |
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Building Effects with Multiple Layers |
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497 | (15) |
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512 | (3) |
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512 | (2) |
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514 | (1) |
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Compositing Elements from a 3D Animation Package |
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514 | (1) |
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Making Your Video Look Like Film |
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515 | (6) |
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515 | (3) |
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518 | (1) |
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518 | (2) |
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520 | (1) |
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521 | (2) |
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523 | (38) |
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524 | (2) |
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524 | (2) |
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526 | (1) |
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526 | (11) |
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Preparing for a Professional Online Edit |
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527 | (6) |
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The Do-It-Yourself Digital Online |
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533 | (4) |
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537 | (3) |
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Preparing for a Professional Audio Mix |
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538 | (1) |
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Do-It-Yourself Final Mixes |
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539 | (1) |
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540 | (6) |
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546 | (7) |
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551 | (2) |
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Getting Your 35mm Film Release Print |
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553 | (4) |
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Film Editing and Cut Lists |
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554 | (1) |
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The Film Printing Process |
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555 | (1) |
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Getting Your Video Transferred to Film |
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556 | (1) |
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557 | (1) |
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558 | (1) |
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559 | (2) |
About the DVD |
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561 | (2) |
Glossary |
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563 | (20) |
Index |
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583 | |