| Preface |
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xvii | |
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Initial Setup: Optimizing the Mac OS and FCP |
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1 | (34) |
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Macintosh OSX: The System Preferences |
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1 | (7) |
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The Energy Saver Preference |
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1 | (1) |
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2 | (2) |
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4 | (2) |
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Network Issues and Apple Talk |
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6 | (2) |
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Multi-User and Administrator Issues |
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8 | (1) |
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9 | (4) |
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Project Setup: Do It Right the First Time and Every Time |
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13 | (3) |
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13 | (2) |
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Saving Your Project Correctly |
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15 | (1) |
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16 | (19) |
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17 | (2) |
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19 | (1) |
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19 | (2) |
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Moving a Clip around the Windows |
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21 | (1) |
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The Color Bars and Tone Generator Clip |
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21 | (1) |
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Moving the Clip from the Effects Tab to the Project Tab |
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22 | (2) |
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Creating a Bin and Using It as an Organizing Tool |
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24 | (1) |
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24 | (1) |
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Moving the Clip from the Bin to the Viewer |
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24 | (4) |
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28 | (1) |
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29 | (1) |
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Moving the Clip from the Viewer Window to the Sequence |
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29 | (3) |
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32 | (1) |
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33 | (1) |
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34 | (1) |
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Settings: Are Yours Correct? |
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35 | (44) |
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35 | (18) |
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The Scratch Disks Tab: The Issues Scratch Disk Assignment |
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36 | (2) |
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38 | (1) |
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A Look at the Scratch Disk Preferences Tab |
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38 | (2) |
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Scratch Disk Assignment: Follow the Next Steps Precisely |
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40 | (1) |
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41 | (4) |
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Waveform and Thumbnail Cache |
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45 | (1) |
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45 | (1) |
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Minimum Allowable Free Space on Scratch Disks |
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45 | (1) |
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Limit Capture/Export File Segment Size |
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46 | (1) |
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47 | (1) |
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48 | (1) |
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49 | (3) |
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52 | (1) |
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52 | (1) |
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53 | (14) |
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The Issues Involved in the Audio/Video Settings |
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53 | (2) |
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55 | (1) |
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56 | (1) |
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57 | (2) |
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59 | (3) |
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The Device Control Presets Tab |
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62 | (3) |
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65 | (2) |
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67 | (1) |
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67 | (2) |
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69 | (10) |
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The General Preferences Tab |
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69 | (1) |
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70 | (1) |
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71 | (1) |
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Warn if Visibility Change Deletes Render File |
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72 | (1) |
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Prompt for Settings on New Sequence |
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73 | (1) |
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Report Dropped Frames During Playback |
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73 | (1) |
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Abort Capture on Dropped Frames |
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73 | (1) |
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74 | (1) |
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75 | (1) |
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76 | (3) |
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Media Acquisition: Logging and Capturing |
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79 | (30) |
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How Do We Get it Inside FCP? |
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79 | (2) |
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Pre-Log and Capture Techniques: The Paper Log and Timecode Window Burn |
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81 | (3) |
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84 | (25) |
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84 | (2) |
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The Log and Capture Window |
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86 | (1) |
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The Log and Capture Video Preview Window |
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87 | (1) |
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87 | (1) |
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88 | (2) |
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The Name, Description, and Marker Fields |
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90 | (2) |
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92 | (1) |
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92 | (1) |
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92 | (1) |
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93 | (1) |
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94 | (1) |
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Current Frame Timecode Field |
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94 | (1) |
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The Tape Transport Controls and J-K-L Support |
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94 | (1) |
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The Jog and Shuttle Wheels |
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95 | (1) |
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Set the In and Out Points for a Clip |
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95 | (2) |
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The Clip Duration Timecode Field |
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97 | (1) |
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Capture Using Capture Clip |
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97 | (1) |
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98 | (1) |
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Capture Now and Its Relationship with DV Timecode |
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98 | (1) |
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99 | (1) |
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Using DV Start/Stop Detection |
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100 | (1) |
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101 | (2) |
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103 | (1) |
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104 | (2) |
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106 | (3) |
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109 | (20) |
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What Importing Is and What It Is Not |
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109 | (1) |
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Audio CD Import the Right Way: Using QuickTime Pro to Import and Convert Sample Rates |
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110 | (5) |
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Importing Photoshop Graphics Files |
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115 | (14) |
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Square vs. Non-Square Pixels |
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115 | (3) |
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Getting Photoshop Layer Effects into FCP Intact |
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118 | (1) |
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119 | (1) |
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The Title-Safe Zone and Overscan |
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119 | (2) |
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Prepping the Image for FCP |
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121 | (2) |
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Importing and Using the Photoshop Image |
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123 | (3) |
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Organize and Backing Up Your Project's Imported Media |
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126 | (3) |
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Editing: the Business and Pleasure of Final Cut Pro |
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129 | (30) |
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Working in the Viewer Window |
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129 | (6) |
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129 | (2) |
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131 | (1) |
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131 | (1) |
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132 | (1) |
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132 | (3) |
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135 | (1) |
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Drag and Drop to the Sequence: Insert/Overwrite |
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135 | (5) |
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Drag and Drop to the Canvas: Insert/Overwrite with a Transition |
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140 | (14) |
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A Few Words about Realtime and Rendering Effects |
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142 | (7) |
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149 | (1) |
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The `Oroborous' Transition Sequence Trick |
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150 | (1) |
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Creating Customized Transition Favorites |
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151 | (3) |
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154 | (1) |
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The Easiest Trimming Technique |
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155 | (4) |
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159 | (40) |
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More Trimming Precision: The Trim Edit Window |
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159 | (1) |
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Calling Up the Trim Edit Window |
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160 | (9) |
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160 | (3) |
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Navigating the Clips in the Trim Edit Window |
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163 | (4) |
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Previewing the Trim Before Leaving the Trim Edit Window |
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167 | (2) |
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The Timeline and the Toolbar |
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169 | (9) |
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169 | (2) |
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The Track Routing Selection Area |
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171 | (7) |
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The Timeline Customization Controls |
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178 | (10) |
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178 | (1) |
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179 | (1) |
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180 | (1) |
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181 | (2) |
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183 | (1) |
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183 | (1) |
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184 | (2) |
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186 | (1) |
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186 | (2) |
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Linking Operations Demonstrated |
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188 | (6) |
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191 | (1) |
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Sync Issues With Linking and Unlinking Clips |
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192 | (2) |
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194 | (5) |
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Trimming in the Timeline: The Toolbar |
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199 | (40) |
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Toolbar vs. Keyboard Shortcuts |
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199 | (2) |
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The General Selection Tool (Keyboard Shortcut--A) |
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201 | (1) |
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The Selection Toolset and Accessing ``Hidden'' Toolsets |
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201 | (3) |
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Edit Selection Tool (Keyboard Shortcut-G) |
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201 | (1) |
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Group Selection Tool (Keyboard Shortcut-GG) |
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202 | (1) |
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Range Selection Tool (Keyboard Shortcut-GGG) |
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203 | (1) |
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The Track Selection Toolset (Keyboard Shortcuts--T, TT, TTT, TTTT, TTTTT) |
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204 | (1) |
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The Roll and Ripple Edit Toolset |
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205 | (5) |
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The Roll Edit Tool (Keyboard Shortcut-R) |
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205 | (2) |
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The Ripple Edit Tool (Keyboard Shortcut-RR) |
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207 | (1) |
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The Asymmetrical Trim: Split Edit/L-Cut with the Ripple Tool |
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208 | (2) |
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210 | (2) |
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The Slip and Slide Toolset (Keyboard Shortcuts-S, SS) |
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212 | (7) |
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The Slip Tool (Keyboard Shortcut-S) |
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212 | (2) |
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The Storyboard Rough Cut Technique |
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214 | (3) |
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217 | (1) |
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217 | (1) |
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The Slide Tool (Keyboard Shortcut-SS) |
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218 | (1) |
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Monitoring the Slip and Slide Tools in the Canvas Window |
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219 | (1) |
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The Razorblade Toolset (Keyboard Shortcuts-B, BB) |
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219 | (5) |
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Using the Razorblade Tool |
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220 | (2) |
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Performing a Ripple Delete |
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222 | (2) |
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The Zoom Toolset (Keyboard Shortcuts-Z, ZZ, H, HH) |
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224 | (5) |
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The Zoom In and Out Tools |
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224 | (1) |
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The Hand Tool (Keyboard Shortcut-H) |
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225 | (1) |
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The Scrub Video Tool: Scrubbing a Clip's Thumbnail (Keyboard Shortcut-HH) |
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226 | (1) |
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Creating Thumbnails in the List View |
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227 | (2) |
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Master Clips and Affiliates |
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229 | (8) |
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231 | (3) |
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234 | (2) |
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The Sequence Settings Window |
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236 | (1) |
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The Crop/Distort and Pen Toolsets |
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237 | (2) |
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Compositing and Special Effects |
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239 | (46) |
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239 | (10) |
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Setting Up a Sequence for Compositing Layers |
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240 | (1) |
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Keyframing in the Sequence |
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240 | (4) |
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Adding Type: The Text Generator |
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244 | (1) |
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Master/Affiliate Clips and the Viewer |
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245 | (4) |
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Special Effects: Motion Effects |
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249 | (19) |
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The Image + Wireframe Viewing Mode |
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251 | (4) |
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255 | (1) |
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Setting the Keyframes for Motion |
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255 | (5) |
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Nonlinear Interpolation---Adding a Curve |
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260 | (1) |
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261 | (7) |
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The Other Motion Tab Tools |
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268 | (17) |
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269 | (3) |
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272 | (4) |
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276 | (1) |
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The QuickView Tool and Option-P |
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277 | (2) |
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279 | (6) |
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285 | (42) |
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Applying Effects: The Color Corrector 3-Way Filter |
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285 | (1) |
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286 | (3) |
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The Video Scopes: Luma and Saturation |
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287 | (2) |
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Correcting the Master Shot |
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289 | (10) |
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Master Shot Correction: Set Contrast |
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290 | (4) |
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Master Shot Correction: Pick Up the Blacks |
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294 | (1) |
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Master Shot Correction: Set the Whites |
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295 | (1) |
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Master Shot Correction: Set the Mids and Gamma |
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296 | (1) |
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Master Shot Correction: Correct Color for White Balance |
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297 | (2) |
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299 | (1) |
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Matching Shots to the Master Shot |
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299 | (6) |
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300 | (1) |
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300 | (1) |
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301 | (1) |
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302 | (3) |
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Secondary Color Correction |
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305 | (4) |
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305 | (2) |
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307 | (1) |
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307 | (1) |
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Using the Limit Effect Matte |
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308 | (1) |
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Teamwork Equals Fast Work |
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309 | (2) |
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311 | (7) |
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Mattes, Masks, and Stencils |
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312 | (1) |
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Setting the Travel Matte-Luma |
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313 | (3) |
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The Travel Matte-Alpha: What Is an Alpha Channel? |
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316 | (2) |
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318 | (2) |
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Nesting and Effects, the FCP Way |
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320 | (7) |
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323 | (1) |
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324 | (3) |
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327 | (28) |
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327 | (13) |
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330 | (1) |
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331 | (9) |
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340 | (6) |
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340 | (4) |
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344 | (2) |
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346 | (9) |
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Setup and Things to Consider |
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346 | (2) |
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348 | (1) |
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The Rest of the Voice Over Window |
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349 | (3) |
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Using the Voice Over Tool |
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352 | (3) |
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Getting Your Project Out of Final Cut Pro |
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355 | (48) |
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355 | (1) |
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Output to Tape: Print to Video |
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356 | (7) |
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Customizing Your Print to Video |
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357 | (1) |
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Color Bars and Audio Test Tone |
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357 | (1) |
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358 | (1) |
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359 | (1) |
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360 | (2) |
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362 | (1) |
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362 | (1) |
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362 | (1) |
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Output to Tape: Edit to Tape |
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363 | (6) |
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The Issues for Edit to Tape |
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363 | (2) |
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Performing the Edit to Tape |
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365 | (4) |
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369 | (1) |
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Exporting for Distribution: Optimizing the Quick Time Movie |
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369 | (12) |
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369 | (2) |
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371 | (1) |
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Choosing and Setting the Compression |
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371 | (3) |
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Quality or Spatial Compression |
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374 | (1) |
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Keyframe Every or Temporal Compression |
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374 | (1) |
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Other Factors: Frame Size, Audio, etc. |
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375 | (1) |
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376 | (2) |
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378 | (3) |
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Exporting for Loss-Less Transfer: The QuickTime Reference Movie |
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381 | (5) |
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382 | (1) |
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The QuickTime Movie Dialog Box |
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383 | (3) |
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386 | (6) |
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387 | (2) |
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389 | (3) |
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392 | (11) |
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The Other Offline/Online Process |
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393 | (2) |
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395 | (4) |
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The Offline/Online Process |
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399 | (4) |
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Appendix A What is Digital Video Anyway? |
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403 | (20) |
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How Video Works: Analog and Digital Video |
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403 | (1) |
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Generation Loss and Digital Video |
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404 | (1) |
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405 | (3) |
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Where Does Digital Video Originate? |
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408 | (2) |
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How Light Becomes Numbers |
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408 | (1) |
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408 | (1) |
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409 | (1) |
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410 | (1) |
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8-bit and 10-bit Uncompressed |
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411 | (2) |
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What about Digital Audio? |
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413 | (2) |
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Sampling and Digital Audio |
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413 | (1) |
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Analog Audio Recording and Double System Sound |
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414 | (1) |
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415 | (1) |
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415 | (6) |
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Firewire DV: Video, Audio, Timecode, and Device Control in One Cable |
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416 | (1) |
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416 | (2) |
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Why Use Non-Drop Frame?: Pulldown Issues |
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418 | (2) |
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Panasonic AG-DVX100: The 24P DV Camera |
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420 | (1) |
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421 | (2) |
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Appendix B Storage: RAM and Drive Solutions |
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423 | (36) |
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RAM: Random Access Memory |
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423 | (3) |
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424 | (2) |
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426 | (11) |
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426 | (1) |
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427 | (1) |
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Types of Drive by Location: Removable Disk |
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427 | (1) |
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Types of Drive by Location: The Internal Drive |
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428 | (1) |
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Types of Drive by Location: The External Drive |
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429 | (2) |
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Types of Drive by Standard |
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431 | (1) |
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Types of Drive by Standard: ATA |
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431 | (2) |
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Types of Drive by Standard: SCSI |
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433 | (1) |
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Types of Drive by Standard: Firewire |
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434 | (2) |
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Types of Drive by Standard: USB |
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436 | (1) |
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The Input and Output Buses |
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437 | (3) |
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The AGP--Accelerated Graphics Port |
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437 | (1) |
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The PCI-Peripheral Component Interconnect |
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437 | (3) |
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440 | (2) |
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440 | (2) |
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442 | (1) |
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442 | (1) |
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Checking the Pieces: The Apple System Profiler |
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442 | (2) |
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Regular Operating System Maintenance: The Care and Feeding of a Jungle Cat |
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444 | (9) |
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444 | (1) |
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Jaguar 10.2 and Single User Mode |
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445 | (2) |
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Panther 10.3 and Safe Mode |
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447 | (1) |
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When Single User or Safe Mode Doesn't Fix It |
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448 | (1) |
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448 | (2) |
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450 | (3) |
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453 | (1) |
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453 | (6) |
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454 | (3) |
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457 | (2) |
| Index |
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459 | |
Rohkem infot Taylor & Francis e-raamatute kohta