%{search_type} search results

122 catalog results

RSS feed for this result

1. Digital filmmaking [2007]

158 p. ; 21 cm.
  • Choosing your weapon, learning to love it
  • Excursions into Super-8, 16mm, Super-16 and Hi-8
  • Customised cameras, video aesthetics
  • Pre-production, part 1: The Budget
  • Pre-production, part 2: Location
  • Lighting
  • Camera movement
  • Working with actors
  • Post-production
  • Music
  • Distribution.
In this indispensable step-by-step guide, leading director Mike Figgis ("Timecode", "Leaving Las Vegas", "Internal Affairs") offers the reader a tutorial in how to get the very best from digital film-making technology. Offering everything that you could wish to know on the subject, this is a handbook that will become an essential back-pocket reference for the digital film enthusiast - whether your goal is to make no-budget movies, or simply to put your video camera to more use than just holidays and weddings.
(source: Nielsen Book Data)9780571226252 20160528
Green Library
xx, 305 pages : illustrations ; 24 cm
  • Part 1: Retrospective on Traditional Filmmaking Part 2: The Digital Film Frontier Part 3: Best Practices for Production Part 4: Editing and Post Production Part 5: Visual Effects and Titles Part 6: Sound Design and Final Mastering Part 7: Restoration and Archiving Part 8: Budgeting and Scheduling for Post Part 9: Case Studies Part X: Glossary, Additional Charts.
  • (source: Nielsen Book Data)9780415747028 20160617
With the shift from film to digital, today's filmmakers are empowered by an arsenal of powerful, creative options with which to tell their story. Modern Post examines and demystifies these tools and workflows and demonstrates how these decisions can empower your storytelling. Using non-technical language, authors Scott Arundale and Tashi Trieu guide you through everything you should consider before you start shooting. They begin with a look to past methodologies starting with traditional film techniques and how they impact current trends. Next they offer a look at the latest generation of digital camera and capture systems. The authors move on to cover: * Preproduction- what camera is best for telling your story and why, budgeting for post * Production- on-set data management, dailies, green screen, digital cinematography * Postproduction- RAW vs. compressed footage, editing, visual effects, color correction, sound and deliverables including DCP creation The book features cutting-edge discussion about the role of the digital imaging technician (DIT), how you can best use the Cloud, motion graphics, sound design, and much more. Case studies show you these solutions being applied in real-world situations, and the companion website features videos of techniques discussed in the book, as well as timely updates about technological changes in the landscape. www.focalpress.com/cw/arundale.
(source: Nielsen Book Data)9780415747028 20160617
Green Library
xviii, 454 p. : ill. (some col.).
1 online resource (1 v.) : ill.
  • Part one:High Definition - a quick overview-- 1-What do we mean by High Definition (HD)?-- The knowledge base-- What does it mean to the producer - saving money!-- What does it mean to the Director?-- What does it mean to the Director of Photography?-- What does it mean to the other crafts?-- Editing and Post Production-- Part two-Production Decisions-- 2-Which formats to shoot on?-- Progressive or Interlace?-- How many pixels do you need-- Recording formats-- HDV - can you get away with it?-- 3-Picture Quality-- What does HD look like?-- HD images compared with 35mm-- Anamorphic 35mm-- Comparisons with Super 16mm-- Comparison with Digi Beta-- 4-Display quality-- HD Shown on a television-- HD Written to film and projected mechanically-- HD Shown on a state of the art digital projector-- Digital projectors-- The Barco D-Cine DP 40 Premier-- The Barco SLM R8-- 5-Delivery requirements-- For delivery on film-- Multi format delivery requirements-- For HD Projection-- Encryption-- Broadcast delivery-- Convertibility-- Picture-- Sound-- Time code-- 6-Sales potential-- Multiple standard sales-- Multiple venue sales-- Additional sales to HD users-- Future proofing-- 7-Cost implications-- Savings-- Origination costs-- Stock Savings-- Insurance savings-- Savings in print costs-- Shooting for anamorphic release-- Added costs-- Camera Kit rental-- Writing out to film-- A cost comparison example - "Oklahoma"-- Stock and processing savings-- Camera rental-- Additional costs-- Overall savings-- Competitive pricing-- 8-Crewing-- Should the DP operate?-- Do you need a focus puller?-- Do you need a loader?-- Naming the camera assistants-- Do you need a clapper board?-- Do you need a dolly grip?-- Sound-- Electricians-- 9-Different shooting requirements-- General considerations-- Shooting in the US-- Theatrical productions-- US Prime Time television productions-- US Commercials-- Potential Savings-- Other US productions-- What frame rate to chose-- European television-- Potential cost savings-- European productions-- European feature films-- European television-- Performance shows-- "Oklahoma"-- "The Merchant of Venice"-- Part three: The Technology-- 10-Digital imaging-- The history of digits-- Digital tonal range-- Linear and logarithmic sampling-- Image resolution, why so many pixels?-- Required resolution for HD-- Data Quantity-- 11-Scanning the Image-- A little of the history of television-- Interlace Scanning-- Progressive scanning-- Printing out to Film-- 12-Line Standards and Definition-- Line Summation-- Apparent Picture Quality-- 1080 versus 720-- Conclusions-- 13-Three Chip Technology-- Additive Colour Imagery-- The Three Chip Camera's Beam Splitter-- The Image Sensors-- The Sensor Chip-- 14-Single chip Technology-- What's available?-- CCD sensors-- CMOS sensors-- CCDs Versus CMOS chips-- Here is a check List-- Colour filtering in single sensors-- Bayer pattern filtering-- Sequential filtering-- The effect of increasing the pixel count-- 15-The Video Tape Recorder (VTR)-- The HDCAM Format-- Helical Scan Recording-- Mechanical Considerations-- The Drum Lacing Mechanism-- Operational Considerations-- A Jammed Mechanism-- Part Four-HD Cinematography-- 16-Lighting and exposing for HD-- Equivalent ASA speed-- Tonal range-- Lighting ratios-- Lighting to a monitor-- Highlights and shadows-- Exposure-- Using a monitor-- Using an exposure meter-- Auto Exposure-- Exposing using a waveform monitor-- 17-Setting the Colour balance-- White balance-- What is white balance?-- ND Filters-- A warning!-- Setting the white balance using a white card-- Setting the white balance using a coloured card-- Setting the white balance under fluorescent lighting-- The outer filter wheel on a Sony HDW Camera-- Black balance-- 18-Lenses-- How to chose a lens-- Resolution-- Contrast-- Perceived sharpness with regard to contrast-- Colour rendition-- Overall colour bias-- Colour fringing-- What is fringing?-- Breathing-- Setting the back focus-- Setting the back focus - Zoom lenses-- Setting the back focus - Prime lenses-- Focusing a lens using back focus charts - Beware!-- Back focusing using the oval rings chart-- Comparative focal lengths-- Depth of field-- Calculating depth of field-- Neutral Density filters-- Limiting apertures-- Filtration-- Colour correction-- Diffusion-- 19-Monitors and cabling-- What kind of Monitors are Available?-- Cathode Ray Tube Monitors-- Liquid Crystal Display Monitors-- Plasma Screens-- Lining up your Monitor-- An SMPTE Line Up-- Lining up using EBU Bars-- Using an Exposure Meter-- Cabling your Monitor-- Single Coaxial Cables-- Triple Coaxial Cables-- TerminationSerial Monitors-- Best Practice-- 20-Playback-- Don't use the camera!-- Using the Sony HDW F500 VTR or equivalent for playback-- Using DV for playback-- Using two DV recorders-- Down converters from Sony HDV cameras-- The Evertz down converter-- The Miranda down converter-- Sound delay lines-- Playback packages-- 21-Shipping-- It's not ENG!-- Shipping lenses-- Transit cases-- Camera set-up when shipping-- Size and weight-- Batteries-- 22 Multi camera shoots-- Synchronisation-- Time code on location-- Lock It Boxes-- Script Boy-- Time code in a studio-- Genlock-- Menu set ups-- The Sony RMB 150-- Using memory sticks-- Matching lenses-- 23-Hazardous conditions-- Re-setting the trips-- Water-- Heat-- Cold-- Dust-- Gamma rays-- 24-Camera supports-- Fluid heads-- Geared heads-- Remote heads-- Under water-- In the air-- Motion control rigs-- 25-How HD affects other crafts-- Art and Design-- Costume-- Make up and Hair-- Sound-- Script supervision and continuity-- The second assistant cameraperson or ex-clapper boy-- 26-Troubleshooting-- Stating the Obvious-- Problems and Solutions-- No image on Monitor-- Monitor shows colouration-- No image in viewfinder-- No image through down converter-- Camera will not power up-- Camera will not record-- Monitor too bright-- Monitor is green-- Monitor shows bright single pixel-- Image vignettes-- Image blurred when panning-- Image looks soft-- Footage marks on lens wrong-- Camera will not accept external time code-- No signal on camera VU meter-- Lens Ret not working-- White balance not working-- Audio not in sync when using down converter-- Part five: Examples of shoots-- 27-Some pictures that made it to HD - and why-- "The Children of Dune"-- Rushes requirements-- An extended playback facility-- The equipment list-- "Birthdays"-- The Studio Shoot-- The location shoot-- Exterior tracking shots-- Interior lighting-- Adding gain-- Editing "Birthdays"-- Viewings-- Part six:Post Productionl-- 28 Post production - an overview-- Generations-- How the choice of edit suite effects the generation game-- The route to a film copy-- Non photographic distribution-- An international standardWhere might it be shown-- Time code-- Considerations-- 29-The Sony HDW F500 Desktop VTR-- VTR's in general-- An overview of the HDW F500-- Editing and Playback-- Simultaneous playback-- Slow motion replay-- High speed picture search-- Digital jog sound-- Vertical interval time-code (VITC) read / write-- The control panel-- Remote control-- In / out capacity-- Optional plug in boards-- Cassettes-- Changing the frame rate-- Available frame rates-- Power supplies-- Part seven: Cameras-- 30-Cameras in general-- My choice of cameras-- My disclaimer!-- 31-The Arriflex D-20-- The camera-- The Camera's chip-- Interface-- Lenses-- Recorders-- 32-The Dalsa Origin-- The camera-- The look through-- The Sensor-- Interfaces-- Conclusions on the Dalsa Origin-- Currently available recorders-- The Codex Media Recorder-- The Touch Screen-- Monitoring via the Codex-- Conclusions on the Codex-- 3-The Panavision Genesis-- The Camera-- Menus-- White balance-- The camera sensor-- Formats, Outputs and Interface-- Viewing logarithmic images-- 34-The Panavision HDW F900 and its system-- Introduction-- External modifications-- The top handle-- The viewfinder support-- The viewfinder-- the camera front plate and lens mount-- The camera base plate-- The voltage distribution box-- The internal filter-- Electronic modifications-- the internal filter-- Electronic definition enhancement-- 35-The Sony HDW 750P and the 730 HD cameras-- frame rates-- The camera body-- Add -in boards etc.-- Image control via the menus-- Multi matrix-- Auto tracing white balance-- Colour temperature control-- Selectable gamma curves-- RGB gamma balance-- Variable black-- gamma balance-- Black stretch-- Adaptive highlight control (Auto knee mode)-- Knee saturation function-- The triple skin tone detail control-- Level depend detail-- Meta-data handling-- The Sony Tele-File system-- The optional HD SDI adapter-- 36-The Sony HDW F900R-- The Camera-- The Chips-- The Processor-- Additional facilities-- Menus-- Overall impressions-- 37-The Thomson Viper HD camera-- An overview-- The camera body-- Outputs from the camera-- Recording a FilmStream signal-- The Directors friend-- The Beam Splitter-- The Vipers CCD array-- The mechanical shutter-- Frame rates-- Resolution-- The cameras processor configuration-- The camera back-- The arguments for a logarithmic format-- Lenses for the Viper-- Monitors for the Viper-- Camera accessories-- Shipping the Viper-- Part eight-- Camera menus-- 38-Menus in general-- 39-The Sony HDW F900 menus.
  • (source: Nielsen Book Data)9781136054334 20160711
High definition is here to stay.HD changes the whole shooting and editing process in film and television production and this book is to satisfy your hunger for information. Whether you are a cinematographer, producer, or working in film/TV production, High Definition Cinematography, 2nd edition will demystitify the new technology, help you select the right cameras and equipment, and explain how high definition affects the shooting process and budgets. Filled with practical advice for tackling everyday decisions and choices, this is a necessity for you if you are using or considering using high definition technology.
(source: Nielsen Book Data)9781136054334 20160711
This handy 180-page book offers a great overview of QuickTime Pro, including a fundamental explanation of video encoding and an invaluable look-up guide of video codecs and the QuickTime Pro interface. Includes step-by-step tutorials for the five things people do most with QuickTime Pro: Capturing, editing, using different video tracks, exporting, and scripting QuickTime Pro actions with Automator. Available for both Windows and Mac, QuickTime 6 was downloaded more than 350 million times. Moreover 98% of those downloads were from PC users, at a rate of over 10 million per month. QuickTime Pro is now available and can be downloaded for $29.99.
(source: Nielsen Book Data)9780321442482 20160527
xiv, 514 p. : ill.
xviii, 622 p. : ill.
1 online resource (xviii, 622 pages) : illustrations.
1 online resource (xiv, 514 pages) : illustrations.
1 online resource (1 v.) : ill.
  • Why chose HD?: What is 24P and HDcam?-- Picture Quality-- Display quality-- Cost implications-- Delivery requirements-- Sales potential-- Pre Production Decisions: Production decisions and frame rates-- Production decisions relating to the type of production-- Crewing-- Preparing for a shoot: Camera Preparation Prior to the shoot-- Camera preparation "Top of Day" check list-- Troubleshooting-- The Shoot: Lighting and exposure for HD-- Lenses-- Monitors-- Colour balance-- Playback-- Shipping-- Multi camera shoots-- Hazardous conditions-- Camera supports-- How HD affects other crafts-- Examples of Shoots: Some pictures that made it to HD - and why-- Post Production: Post production-- The Sony HDW F900 Camera: The camera head-- Digital Imaging-- Frame Rates and Scanning-- The On-Board VTR-- The Panavision HDW F900 and its System: Introduction-- The Sony HDW 750 Camera: The Sony HDW F750 / F730 HD camera-- The Thomson Viper HD Camera: The Thomson Viper camera-- The Sony HDW F500 Desktop VTR: The Sony HDW F500 VTR-- The Sony HDW F900 Menus: The HDW F900 menus.
  • (source: Nielsen Book Data)9780240516769 20160711
This authoritative new reference demystifies the technologies of high definition and 24P cinematography. It is written for the director of photography, camera crew and producer or director and deals with the subject from their point of view. It provides a thorough and logical description of the five scanning formats 24P, 25P, 30P, 50i and 60i as well as recording formats, editing options, delivery potential and discussions on the financial implications these decisions might have. It looks at comparative costs between different decisions surrounding camera formats, such as 16mm to 35mm shooting for different examples, such as a 100-minute low budget movie or 30 second commercial. There is also considerable discussion on the advantages and disadvantages of using HD versus film, seen from a producer's perspective and what the impact is on all those involved in making a movie. Different delivery systems and camera equipment are discussed as well as editing. Filled with practical advice for tackling everyday decisions and choices, this is a must-have guide for anyone using or considering using high definition technology. Benefit from information that has been developed in response to frequently asked questions surrounding the medium. It is an authoritative reference covering all five scanning formats. It helps you make decisions regarding formats and costs.
(source: Nielsen Book Data)9780240516769 20160711
xxiv, 414 p. : ill. ; 23 cm.
1 online resource (1 v.) : ill.
  • Getting Started Chapter 1: Setting up your library Chapter 2: Enjoying and Sharing Clips Chapter 3: Moviemaking Made Easy Chapter 4: Having Fun with iMovie Trailers Chapter 5: Creating your own Sports Highlights video Chapter 6: Refine a Movie Chapter 7: Mixing Photos and Video Chapter 8: Advanced Moviemaking Chapter 9: Capturing and Managing Media Chapter 10: View, Rate, and Share Clips on iOS Chapter 11: Creating a Movie Trailer on iOS Chapter 12: Moviemaking on iOS Chapter 13: Sharing Movies with iMovie Theater.
  • (source: Nielsen Book Data)9780133900958 20160711
In the only Apple-certified guide to iMovie, readers will be creating original works within the first few pages. Using real-life material and practical lessons that they can apply immediately to their own projects, this book/media combo offers a complete, self-paced course in all aspects of iMovie. Focused lessons take you step-by-step through everything from organizing and importing your videos to creating polished movies. The reader will master iMovie tools quickly through fun, real-world projects, create professional looking sports highlights from home videos, learn to make a "Hollywood-style" movie trailer, and discover new ways to publish and share projects using iMovie Theater and iCloud. For mobile users, the book includes a section dedicated to iMovie for iOS. This self-paced learning tool has an easy, accessible style and ample illustrations and keyboard shortcuts to guarantee that readers become proficient with iMovie in no time.
(source: Nielsen Book Data)9780133900958 20160711
1 online resource (1 v.) : ill.
  • (source: Nielsen Book Data)9780321929662 20160614
The colorist is responsible for the critical final stage of refinement of the film and broadcast image. Using all of the controls modern color correction software provides, colorists refine the mood, create style, add polish to scenes, and breathe life into the visuals. The craft of color correction can take considerable trial and error to learn, while the art of color grading takes years to perfect. Alexis Van Hurkman draws on his wealth of industry experience to provide a thoroughly updated edition of what has become the standard guide to color correction. Using a friendly, clear teaching style and a slew of real-world examples and anecdotes, Alexis demonstrates how to achieve professional results for any project, using any number of dedicated grading applications, or even an editing program's built-in color correction tools. From the most basic methods for evaluating and correcting an overall image to the most advanced targeted corrections and creative stylizations, Color Correction Handbook, Second Edition, is your one-stop guide. Among many valuable concepts and techniques, you'll learn to: * Set up a professional color correction environment using the latest technologies and adhere to the most up-to-date standards * Work with log-encoded media and LUTs * Analyze shots quickly and correct errors of color and exposure * Create idealized adjustments for key features such as skin tone, skies, and product shots * Develop strategies for balancing clips in a scene to match one another for continuity, and grading greenscreen clips destined for visual effects * Master a variety of stylistic techniques used to set a scene's mood * Apply principles of color and contrast to add depth and visual interest * Browse valuable research about memory colors, audience preferences, and critical corrections for achieving appealing skin tones and controlled environments * Follow along with the downloadable files that accompany this book, including HD footage, cross-platform exercises, and project files.
(source: Nielsen Book Data)9780321929662 20160614
1 online resource (1 v.) : ill.
  • Prologue Getting to Know iMovie General Concepts 3 iMovie Layout 3 Libraries 4 Content Library 5 Movie Timeline 6 Viewer 7 Browser 7 Theater 8 Toolbar 8 Chapter 1 Customizing iMovie Settings and Preferences 11 Switching the Project and Event Browsers 13 Resizing the Sidebar, Viewer, Event Browser, and Project Browser 14 Hiding the iMovie Sidebar 16 Changing the Display of Project and Event Browser Content 17 Wrap the Movie Timeline 17 Adjust a Clip Thumbnail in the Event Browser 18 Adjust the Clip Thumbnail in the Project Browser 19 Setting iMovie Preferences 20 Setting Movie Properties 21 Chapter 2 Importing and Organizing Video, Events, and Movie Clips 29 iMovie v10 Default Setup 30 Update Events and Projects from Older Versions of iMovie 31 Update Events and Projects from an External Drive or Mobile Device 33 Importing Movies from a Camera, Memory Card, and iMovie for iOS 35 Import New Media Files 37 Importing from Other Libraries 39 Import from iPhoto or Aperture 39 Import from Other Media Libraries 42 Working with Events and Movie Clips 47 Play a Movie Clip 50 Select Part of a Movie Clip 52 Use the Skimmer and Playhead 52 Locate a Movie File 54 Getting Organized 54 Rename a Library or Event 55 Create a New Event 55 Rearrange Events Between Libraries 56 Merge Events 57 Rating Movie Clips 58 Search for Tags Applied in Previous Versions of iMovie 60 Chapter 3 Creating a New Movie Project 63 Creating a New Movie Project 63 Adding Clips to Your Movie Project 65 Rearrange Clips in the Movie Timeline 69 Replace a Clip in the Movie Timeline 70 Adding Clip Transitions 71 Switch Transitions 74 Edit Transition Duration Time 75 Fade to Transitions 76 Adding Photos to Your Movie 77 Add a Photo from iPhoto/Aperture 77 Add a Freeze-Frame Image 79 Use Multiple iPhoto Libraries 80 Add Photos from Anywhere 81 Customize the Ken Burns Effect 83 Turn Off Automatic Effects 86 Chapter 4 Editing and Correcting Movie Clips 89 Trimming Movie Clips 90 Use the Clip Trimmer 92 Use the Precision Editor 94 Correcting a Shaky Movie 99 Correcting Blurry or Distorted Video 101 Splitting Clips 103 Merge Movie Clips 105 Deleting Movie Clips 106 Rotating a Movie Clip 107 Chapter 5 Adding Special Effects, Maps, Backgrounds, and Titles Clips 109 Speeding Up or Slowing Down a Clip 110 Adjust Clip Speed 110 Adjust Clip Playback Speed 112 Set a Preset Speed 114 Adjust Audio Pitch 115 Reverse a Movie 115 Apply the Rewind Special Effect 117 Creating an Instant Replay of a Clip 118 Adding Backgrounds Using the Green/Blue Screen 120 Add a Background 121 Make Green Screen Adjustments 123 Using Picture-in-Picture 124 Apply the Picture-in-Picture Effect 125 Creating Side by Side Clips 127 Display Side-by-Side Clips 127 Adding Maps & Backgrounds to a Movie 129 Add an Interactive Map 129 Add a Background 131 Adding Titles to a Movie 132 Add Title Text to Movie Clips 134 Customize Title Font Properties 136 Adding Credits at the End of Your Movie 138 Chapter 6 Adding and Editing Voiceovers, Music, and Sound Effects 143 Recording a Voiceover 143 Adding Music from iTunes 146 Adding Sound Effects 147 Adding Audio from GarageBand 148 Editing Audio 149 Slowing Down or Speeding Up Audio 150 Chapter 7 Editing Video Color, Brightness, and More 153 Using the Adjust Menu 153 Adjusting Color Balance 154 Match Color 155 Adjust White Balance 155 Adjust Skin Tone 156 Correcting Color 156 Cropping 157 View the Cropping Menu 157 Crop 157 Use the Ken Burns Effect 158 Correcting for Stability and Rolling Shutter 158 Adjusting Volume 159 Using Noise Reduction and Equalizer Settings 161 Using Video and Audio Effects 161 Chapter 8 Adding and Customizing Video Themes 165 Creating a New Project with a Video Theme 166 Adding a Video Theme to an Existing Project 167 Change the Theme Titles 169 Add a Location 170 Change the Transition 170 Use the Precision Editor 171 Removing a Theme 172 Chapter 9 Creating and Customizing Trailers 175 Creating a Trailer 175 Customize Your Trailer 177 Tweak the Clips 179 Work with the Shot List 180 Sharing Your Trailer 181 Chapter 10 Sharing Your Movies 185 Sharing Your Movie 185 Share via Email 186 Share to iTunes 187 Share to YouTube 188 Share to Facebook 189 Share to Vimeo 190 Share to CNN iReport 191 Save Your Movie to Your Mac Hard Disk 192 Seeing Where Your Movie Is Shared 192 Chapter 11 Using iMovie on Your iPhone and iPad 195 Creating a New Movie Project 195 The Movie Project Main Screen 197 Adding Video, Photos, and Audio 199 Add Video 199 Add Photos 201 Add Audio 201 Editing Your Project 202 Add Titles 203 Speed Up or Slow Down a Clip 204 Trim a Clip 205 Zoom In 206 Duplicate a Clip 206 Create a Freeze Frame 207 Split a Clip 208 Delete a Clip 209 Change the Clip Volume 209 Detach the Audio from a Clip 210 Fade Audio 212 Switch Audio Between Foreground and Background 213 Record a Voiceover 213 Edit a Transition 214 Sharing Your Movie or Trailer 216 Index 219.
  • (source: Nielsen Book Data)9780789749956 20160614
Step-by-step instructions with callouts to iMovie screenshots that show you exactly what to do. Help when you run into iMovie problems or limitations. Tips and Notes to help you get the most from iMovie. Full-color, step-by-step tasks walk you through everything you want to do with iMovie. Learn how to: * Become familiar with the layout of the new iMovie for Mac interface * Organize and manage your iMovie Library, videos, photos, and other digital media * Import your videos into iMovie * Precisely trim movie clips to show exactly what you want in your movie * Correct shaky or blurry video * Enhance your audio and create a voiceover * Add background music and sound effects * Use themes to make your movies look polished * Add titles and special effects to your movie * Create a high-quality trailer to give your friends a sneak peek at what is to come * Share your movies on social media like Facebook, or via email * Bonus Chapter: Using iMovie on your iPhone, iPad, and iPod touch * Add transitions between clips to move smoothly from one clip to the next * Overlay one clip or photo on top of another to combine them into one image.
(source: Nielsen Book Data)9780789749956 20160614
1 online resource (xiii, 223 p.) : ill., maps.
1 online resource (viii, 309 p.) : col. ill.
  • Getting Started The World of Digital Video Getting Ready to Edit Video Capture and Import Organizing Your Content Editing Video Working with Effects Transitions Working with Sound Titles and Credits Working with Movie Themes Creating Menus Sharing Movies Working with Adobe Photoshop Elements.
  • (source: Nielsen Book Data)9780321749727 20160605
The fastest, easiest, most comprehensive way to learn Adobe Premiere Elements 9 Classroom in a Book, the best-selling series of hands-on software training workbooks, helps you learn the features of Adobe software quickly and easily. Classroom in a Book offers what no other book or training program does - an official training series from Adobe Systems Incorporated, developed with the support of Adobe product experts. Adobe Premiere Elements 9 Classroom in a Book contains 13 lessons. The book covers the basics of learning Adobe Premiere Elements and provides countless tips and techniques to help you become more productive with the program. You can follow the book from start to finish or choose only those lessons that interest you. About the Authors The Adobe Creative Team of designers, writers, and editors has extensive, real world knowledge of Adobe products. They work closely with the Adobe product development teams and Adobe's Instructional Communications team to come up with creative, challenging, and visually appealing projects to help both new and experienced users get up to speed quickly on Adobe software products.
(source: Nielsen Book Data)9780321749727 20160605
1 online resource (xvi, 533 p.) : col. ill.
  • (source: Nielsen Book Data)9780321713117 20160605
The colorist working in film and video is the individual responsible for breathing life into characters, bringing a mood into a scene, and making the final product polished and professional-looking. This craft is an art form that often takes years to perfect and many trial-and-error attempts at getting it right. Here to help both the newcomer and professional who needs to brush up on their skills is the first book to cover a wide variety of techniques that can be used by colorists, no matter what system they're using. Whether you're using a video editing package with a color correction tool built in (Final Cut Pro, Premiere Pro) of a dedicated application (Apple Color, Assimilate Scratch, Baselight, or DaVinci), this book covers it all. From the most basic methods for evaluating and correcting an overall image, to the most advanced targeted corrections and creative stylizations typically employed, you'll find this highly organized book a solid reference that's easy to navigate. The accompanying DVD contains footage as well as cross-platform exercises and project files for readers to experiment with. After reading the techniques, readers will learn to apply the methods that all of the color correction applications use, how to problem-solve and trouble-shoot, how to maximize the effectiveness of each tool that's available, and they will discover how to creatively combine techniques and tools to accomplish the types of stylizations that colorists are often called upon to create. Praise for Color Correction Handbook: From Alexis Van Hurkman comes an up-to-date, most welcome, encyclopedic guide for colorists: Color CorrectionHandbook (Professional Techniques for Video and Cinema). The breadth of this work is almost impossibly ambitious: Van Hurkman embraces all the important topics, and the liberal use of illustrated examples, with accompanying waveforms and solutions from various platforms, succeeds in providing a single reference work for the colorist at almost any level of expertise...Colorists will find gaps in their knowledge are as well-served by this book as the aspiring colorist already under the tutelage of a master. Ron Lingelbach Colorist, Dolby Laboratories; Founder, TKcolorist Internet Group (TIG) Color correction is a complex and subtle craft. The student needs to sit next to professionals on a real jobs, and ask them continuously what they just did, and why they did it. The professional rarely has the time and the patience to answer newbie questions, and the earnest scholar quickly ends up outside the grading suite, wondering sadly whether there was an easier road to knowledge. Now, at last, there may be. Alex Van Hurkman's book comes with a DVD of example material you can load onto your color grading workstation. It covers many useful real examples, explaining what you might do to make the images look better, what is the easiest way to do it on any of the popular platforms, and even how to explain what you are doing to others. If you want to learn color correction, this book will make a difference. Dr Richard Kirk Colour Scientist, FilmLight Ltd Recipient of 2010 AMPAS Scientific and Engineering Award Van Hurkman covers the theory and the practical application of color-correction very well...it's always good to understand the theory of *why* the image looks good or bad and how it relates to photography, electronics, and physics. I have no doubt Van Hurkman's book is as close as we're going to get to a standard textbook for the world of color correction. If nothing else, I think it communicates the idea to neophyte filmmakers that there's far more to color-correction than just having the software or the box. It's *experience* that makes good color -- not the system. Highly recommended. --Marc Wielage/Senior Colorist Lowry Digital/Burbank.
(source: Nielsen Book Data)9780321713117 20160605
1 online resource (xv, 331 p.) : ill.
  • Chapter 1 The Adobe Workflow Meet Adobe Premiere Pro Creative Suite Production Premium Editing Workflow Next Steps Chapter 2 Configuring Your Nonlinear Editor Notable Preferences Keyboard Shortcuts Mercury Playback Engine Performance Monitoring and Capture Solutions Next Steps Chapter 3 Setting Up a Project The New Project Panel Creating a Sequence Modifying an Existing Project's Settings Importing Existing Projects Next Steps Chapter 4 Importing Media 55 Importing Files into Adobe Premiere Pro Tape-based Workflows Tapeless Workflows Supported File Types Modifying Clips An Introduction to Dynamic Link Next Steps Chapter 5 Organizing Media Understanding the Project Panel Searching for Clips Working with Bins Customizing Bin and Clip Views Creating Subclips Get Organized with Metadata Organizing Clips with Content Analysis Next Steps Chapter 6 Essential Editing Skills Using the Source Monitor Navigating the Timeline . Essential Editing Commands Next Steps Chapter 7 Additional Editing Skills Four-point Editing Retiming Clips Replacing Clips Time-saving Editing Techniques Next Steps Chapter 8 Timeline Operations Selecting Clips Moving Clips Extracting and Deleting Segments Adding Transitions Next Steps Chapter 9 The Power Is in the Trim Basic Trimming Rippling Edits Rolling Edits Slipping Edits Sliding Edits Using the Trim Monitor Making Split Edits Maintaining Sync Next Steps Chapter 10 Color Correction and Grading Using Video Scopes Getting to Know Adobe Premiere Pro's Color and Exposure Effects Primary Color Corrections Secondary Color Corrections Using After Effects and Photoshop to Correct Next Steps Chapter 11 Audio Mixing and Repair Setting Up the Interface to Work with Audio Adjusting Audio Levels on a Sequence Using the Audio Mixer Using Audio Effects Working with Adobe Audition Next Steps Chapter 12 Essential Effects The Role of Effects Understanding Keyframes Selected Effects Next Steps Chapter 13 Creating Titles Video Typography Essentials Using Adobe Premiere Pro's Titler Advanced Titling with Photoshop Animated Titles with Adobe After Effects Next Steps Chapter 14 Quality Control and Archiving Eliminating Mistakes Broadcast Legalization Practical Media Management Next Steps Chapter 15 Publish Your Video Exporting a Master Copy Outputting to Tape Meet Adobe Media Encoder Creating Flash Content Creating H.264 Content for Devices and Web Delivery Publishing to DVD and Blu-ray Exporting Additional File Types Next Steps Index On The Disc Appendix A Multicamera Editing Appendix B DS LR Workflow Guide Appendix C Capturing from Tape-based Formats Appendix D Working with Final Cut Pro Appendix E Working with Avid Media Composer Keyboard Shortcuts Audio Capturing Marks and Markers Project and Media Management Multi-camera Editing Trimming and Timeline Titling Tools.
  • (source: Nielsen Book Data)9780321773012 20160605
If you're an experienced editor who wants to get up to speed on Adobe Premiere Pro, then look no further than this fast-paced but thorough guide to Adobe's flagship editing program. Enjoy the ride as three experienced editors take you step by step through the entire editing process in Adobe Premiere Pro. You'll learn to perform professional editing tasks such as project management, multi-format editing, color correction, audio mixing, titling, effects, and delivering your video onto tape, the web, and mobile devices. Plus the whole process moves at an accelerated pace so you can get back to editing even faster. Within a weekend, you'll learn everything you need to know to use Adobe Premiere Pro confidently for your own projects and client work. In this no-fluff guide to Adobe Premiere Pro, you'll learn to: * Quickly import your existing Final Cut or Avid projects, or create new projects to use right away in Adobe Premiere Pro * Work within the Adobe editing environment, with powerful insight into applications such as Adobe Photoshop, Adobe After Effects, Adobe Audition, Adobe Media Encoder, Dynamic Link, and Adobe Story * Edit your footage the way you like but with workflow advice from a nonlinear editing team with more than 50 years of combined experience * Put your advanced editing skills to work immediately by using the accompanying hands-on lesson files to work through the steps in the book * Improve your knowledge through engaging video tutorials, handy quick-reference guides, and keyboard shortcut sheets all made available on the book's DVD.
(source: Nielsen Book Data)9780321773012 20160605
1 online resource (x, 236 p.) : ill.
  • Introduction-- Essential Techniques-- Fixing Lens Problems-- Fixing Video Problems-- Fixing Film Problems-- Fixing Digital Problems-- Fixing Audio Problems-- Fixing Colour Problems-- Fixing Composition Problems-- Fixing Timing Problems-- Fixing Editorial Problems-- Basic Strategies-- Referene Data.
  • (source: Nielsen Book Data)9780240811246 20160608
This book provides an array of concise solutions to the wide variety of problems that are faced by postproduction artists in the post process. With an application-agnostic approach, it gives proven, step-by-step methods to solving the most frequently encountered postproduction problems. Also included is access to a free, password-protected website that features application-specific resolutions to the problems presented, with fixes for working in Apple's Final Cut Studio suite, Avid's Media Composer, Adobe Premiere Pro, as well as other applications. Lessons are enhanced through eye-catching 4 color illustrations throughout. Solutions are provided for common audio, video, digital, editorial, color, timing and compositing problems, such as, but not limited to: * automated dialogue replacement, adjusting sync, and correcting pitch * turning SD into HD (and vice-versa) and restoration of old film for video * removing duplicate frames, repairing corrupt frames, and anti-aliasing * maintaining continuity, removing soft cuts, and troubleshooting timecodes * adding vignettes, removing color casts, and legalizing color * speeding shots up or slowing shots down, and smoothing timelapse * reframing shots, sky replacement, and object addition or removal The book is presented in a "cookbook" format, allowing you to reference your exact problem in the TOC or index, go to that section, and immediately implement the solution featured.
(source: Nielsen Book Data)9780240811246 20160608


Journal articles, e-books, & other e-resources
Articles+ results include