The vast majority of my editing was done on the ubiquitous Movieolla upright, rewinds, and several good film bins. My focus shifted to sound editing and mixing, but for the next ten years I continued editing on film using Steenbeck, Movieolla, and Kem flatbed editors. I also had a mag reader that could interlock three tracks of sound. Understanding the PAL Video Format Jaime Estrada-TorresĪspect Ratios, Anamorphic Image, and Wide-screenĪ Letter from the Author I edited my first film in 1974 on rewinds and a viewer. Understanding the NTSC Video Format and Digital Video Working together to grow libraries in developing countries | | Contentsģ Initial Audio Workflow, Importing Production Audio, and SyncingĦ Finishing on Digital Video, the Online Editġ0 After the Film Is Finished: Distribution ISBN: 978-6-1 For information on all Focal Press publications visit our website at 08 09 10 11 12 13 TR899.A584 2008 778.5′350285-dc22 2007024309 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library.
Editready conform frame rate pro#
The filmmaker’s guide to Final cut pro workflow / Dale Angell.
Library of Congress Cataloging-in-Publication Data Angell, Dale. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (+44) 1865 843830, fax: (+44) 1865 853333, e-mail: You may also complete your request online via the Elsevier homepage (), by selecting “Customer Support” and then “Obtaining Permissions.” Recognizing the importance of preserving what has been written, Elsevier prints its books on acid-free paper whenever possible. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher.
TOKYO Focal Press is an imprint of ElsevierĪcquisitions Editor: Dennis McGonagle Publishing Services Manager: George Morrison Project Manager: Mónica González de Mendoza Assistant Editor: Chris Simpson Marketing Manager: Marcel Koppes Cover Design: Eric DeCicco Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK Copyright © 2008, Elsevier, Inc.The Filmmaker’s Guide to Final Cut Pro Workflow Dale Angell The Filmmaker’s Guide to Final Cut Pro Workflow
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Shedding light on workflow and the interrelationship of these software packages, Angell also takes time to focus on cost saving and efficiency, helping the low-budget, independent filmmaker as well as students trying to take their skills to the professional level.Final Cut Pro Film Workflow will help you:* Understand capturing picture when shooting on film or digital video* Work within sound edit workflows* Better grasp NTSC and PAL video format environments* Understand Timecode and the file architecture in Final Cut Pro, Cinema Tools, and Pro ToolsFeaturing example workflows from low budget films and step-by-step workflow for use in Cinema Tools, this is the sure-fire guide for taking your film to the next level.* A practical guide to a complete film postproduction workflow that integrates FCP, Cinema Tools and Pro Tools* Describes a low-cost workflow that can be used for 35mm film, High Definition digital, or DV/Red Camera* Appendices detail all current video formats and timecode formats with descriptions and uses, and example workflows from low budget films This is the comprehensive guide to affordable film postproduction workflow using Final Cut Pro, Cinema Tools, and Pro Tools.