Editing Techniques with Final Cut Pro: A Comprehensive Guide to Film and Video Editing Style, Technique, and Grammar / Edition 2

Editing Techniques with Final Cut Pro: A Comprehensive Guide to Film and Video Editing Style, Technique, and Grammar / Edition 2

by Michael Wohl
     
 

ISBN-10: 0321168879

ISBN-13: 9780321168870

Pub. Date: 05/20/2003

Publisher: Peachpit Press

This extensively revised edition of filmmaker Michael Wohl's acclaimed book offers all new sections on customizing your interface, color correction, and variable speed effects, as well as an enhanced audio chapter, packed with new information on audio mixing, sound design, sound re-recording, and more. Also featured is coverage of companion applications such as

Overview

This extensively revised edition of filmmaker Michael Wohl's acclaimed book offers all new sections on customizing your interface, color correction, and variable speed effects, as well as an enhanced audio chapter, packed with new information on audio mixing, sound design, sound re-recording, and more. Also featured is coverage of companion applications such as Soundtrack, Cinema Tools, and Live Type. Final Cut Pro puts professional film editing tools in the hands of virtually anyone with a video camera and a computer, but there's more to the craft of editing than just having the tools. In this book Michael Wohl explains the essentials of video editing and shares professional filmmaking techniques: how to tell stories effectively, troubleshoot common editing problems, and create sophisticated visual effects using your desktop tools. You'll learn all the essential rules of film grammar -- and when you can break them. In addition to gaining a deep working knowledge of Final Cut Pro and Final Cut Express, you'll learn to identify a wide variety of editing situations and discover how the pros handle them. You'll learn what the editor's role is on a film and how it relates to that of other members of the production team. You'll also learn how to take best advantage of the extraordinary capabilities of the Final Cut software family; Wohl shows you which buttons to push, why, and when to push them. Abundant illustrations let you watch over his shoulder while he uses Final Cut Pro and Final Cut Express to create and complete high-quality videos.

Product Details

ISBN-13:
9780321168870
Publisher:
Peachpit Press
Publication date:
05/20/2003
Edition description:
Second
Pages:
556
Product dimensions:
7.00(w) x 9.10(h) x 1.13(d)

Table of Contents

Introduction: The Invisible ArtXIII
Chapter 1The Editor's Job1
Where the Editor Fits In2
The Editing Process3
What Kind of Film Are You Making?3
Getting to Know Your Tools6
The Importance of Knowing Your Audience6
The Value of Getting Involved Early7
Working With the Director9
Protocol in the Editing Room9
Reading the Script11
Viewing the Footage11
Budgeting Time for Sound Design12
Coordinating Special Effects Production12
Practicing the Art of the Possible13
Choosing the Shot13
Composition14
Lighting Problems18
Audio Problems18
Checking It Out on the Big Screen19
Performance: Choosing the Take20
What Constitutes a Good Take?20
Style and How to Get It21
Where Does Style Come From?21
Developing a Personal Style23
Interview26
Chapter 2Film Language31
Types of Shots31
Subject Size32
Camera Angle37
Camera Movement39
Types of Shots: As the Editor Sees Them46
Types of Cuts and Transitions55
Punctuation66
Rules of Film Grammar69
New Shot = New Information69
Screen Direction69
Cutting on Action76
Matching Your Shots76
Cut Moving to Moving, Still to Still77
Finding a Compositional Link78
Manipulating Time79
Respecting Silence81
Setting the Pace81
Storytelling82
Interview88
Chapter 3Editing Patterns93
Editing With Common Patterns94
Starting a Scene94
Changing Locations94
Shot-Reverse Shot95
Montage96
Working With Narrative Structure98
Cut Audio First99
Dialogue for Two102
Three or More People105
Editing a Soliloquy107
Editing Action Sequences108
Preserving Continuity108
Preserving Momentum109
Cutting on Action111
Building Tension112
Using Setup to Create Suspense115
The Cliffhanger116
Manipulating Cause and Effect118
Cutting the Shoot-out120
Effective Chase Sequences122
Editing Fight and Battle Sequences124
Countdown to Climax: Speed Up the Cutting125
Cooling It Down126
Cutting for Comedy127
Creating Laughter With Surprise127
Funnier the Second Time Around127
Giving it Room to Play129
Documentary Patterns129
Beginning, Middle, and End130
Documenting an Event131
Cutting Interviews132
Editing Narration135
Working With B-roll135
Editing for Corporate Communications138
Eliminating Graphic Overload139
Editing Experimental Video139
Experimentalists Join the Mainstream140
Emphasizing Mood Over Plot141
Rhythm141
Consistency of Style142
Editing Hints142
Interview144
Chapter 4Preparing to Edit149
The Assistant Editor's Guide to Final Cut Pro149
Preparing Your Workspace150
Logging With Final Cut Pro173
Log and Capture Window176
Required Fields178
When to Use Auto-naming181
Why All These Fields?185
How to Log Short Clips185
How to Log Long Clips186
Entering Additional Information186
Using the Log Note Field for Longer Notes186
Setting Markers While Logging187
Good, Better, Best189
Adding Additional Information in Browser Columns190
Speed Logging191
Auto Scene Detection191
Logging Outside of Final Cut Pro195
Logging From a Window Dub195
Importing Batch Lists196
The Offline/Online Workflow197
Offline RT198
Making Low-Res Files199
Finalizing the Show200
Working with Film and Cinema Tools203
Interview204
Chapter 5Basic Editing209
If It Were Easy, Everyone Would Do It209
The Disappearing Software210
Working with Clips211
Marking Clips212
Marking Subclips218
Working with Markers221
Marking a Moment in Time221
What do Markers Look Like?223
What's Worth Marking? And When?224
Naming Markers Wisely226
Marking a Range of Time226
Deleting Markers227
Navigating with Markers227
Searching for Markers229
Snapping to Markers229
Reposition Marker230
Extend Marker231
Subclips in Disguise232
Marking Music Beats232
Interacting with Other Applications233
Building Sequences235
Three-Point Editing235
Picking the Right Editing Style238
Drag and Drop vs. Keyboard Entry247
Timeline Editing251
Minimizing Your Video Track Count252
Editing on Two Tracks254
Transitions259
Deciding Where Transitions Begin and End262
Changing Effect Parameters265
Custom Transitions268
Making a Custom Default Transition270
Making a Custom Transition Button270
Transitions as Fades271
Interview274
Chapter 6Advanced Editing279
In the Groove279
Trimming280
Roll Edit280
Ripple Edit285
Adjusting Two Edits at Once291
Slip Edit292
Slide Edit297
Play Around Your Edit299
The Trim Edit Window300
Trimming Under Transitions305
Trimming Multiple Tracks310
Snap and Trim314
The Replace Edit316
Showing Different Angles of the Same Event317
Syncing a Clip With a Cue Point (Using Match Frame)318
Replace With In and Out Points320
Make Sure You Have Enough Media in the Viewer324
Gang Sync326
Follow Mode326
Open Mode328
Gang Mode328
Split Edits331
Fine-Tuning a Split Edit332
Split Marks334
Four-, Five-, and Six-Point Editing335
Using Subsequences to Manage Large Projects341
A Live Link341
No EDL Support341
Edit Sequence Contents342
Workaround for Final Cut Express Users342
The Big Picture343
What Makes a Sequence Work?343
Awkward Bridges Between Scenes343
The Overall Story343
Make it Shorter345
Interview350
Chapter 7Cutting the Track355
Sound Makes the Show355
The Audio Workflow356
Capturing Audio357
Audio Shapes358
Working with Dual System Recording362
Sound Editing365
Dialogue Tracks365
Sound Effects Tracks368
Ambiences371
Non-Environmental Sounds372
Music and Score374
Don't Use Music to Fix a Bad Edit374
Temporary Music374
Selecting Pre-Existing Music375
Hiring a Composer378
Working with Soundtrack378
Re-Recording Audio380
Alternate Dialogue Recording (ADR)381
Audio Sweetening390
Removing Pops390
Problem Solving Filters392
The Final Mix396
Mixing in Final Cut Pro397
Adjusting Level and Pan in Final Cut Express400
Exporting for ProTools403
The Advantages of ProTools403
Interview406
Chapter 8Special Effects411
Getting Started411
Become a Specialist--or Hire One412
Employ the Right Tool413
Don't Do Effects in the Camera413
Types of Visual Effects414
Organic vs. Inorganic Effects414
Speed Effects415
Slow Motion416
Fast Motion417
Time Lapse417
Ramping (Variable Speed Effects)418
Freeze Frames430
Fit to Fill430
Speed and Audio432
Filter Effects432
Color Correction434
Abstract Filters443
Compositing447
Superimposing Edit Style448
Motion Effects449
Designing a Picture-in-Picture450
Starting and Ending the Effect451
Controlling Clip Motion454
Easing In and Out457
Applying Motion Blur459
Moving Clips in 3-D Space460
Mixing Layers464
Opacity464
Using Composite Modes464
Controlling Transparency With Alpha Channels467
Keying469
Making Mattes475
Traveling Mattes480
Nest Sequences481
CG483
Generators484
Importing Files492
Getting In and Out of After Effects496
Interview500
Chapter 9The Digital Future505
If You Don't Like the Movies, Go Out and Make Some of Your Own506
Hope From the Internet506
Marketing on the Web507
Distributing via the Internet (Web Cinema)508
Web Video Today508
Outputting Video for the Web509
Preparing for Your Web Audience514
Hosting Your Video515
What's the Web Good For?516
Do What's Never Been Done517
Tell Your Stories519
Interview520
Appendix525
Glossary529
Index537

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