INTRODUCTION: THE INVISIBLE ART |
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XIII | |
CHAPTER ONE: THE EDITOR'S JOB |
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1 | (30) |
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2 | (1) |
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3 | (10) |
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What Kind of Film Are You Making? |
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3 | (3) |
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Getting to Know Your Tools |
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6 | (1) |
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The Importance of Knowing Your Audience |
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6 | (1) |
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The Value of Getting Involved Early |
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7 | (2) |
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Working With the Director |
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9 | (1) |
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Protocol in the Editing Room |
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9 | (2) |
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11 | (1) |
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11 | (1) |
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Budgeting Time for Sound Design |
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12 | (1) |
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Coordinating Special Effects Production |
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12 | (1) |
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Practicing the Art of the Possible |
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13 | (1) |
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13 | (7) |
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14 | (4) |
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18 | (1) |
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18 | (1) |
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Checking It Out on the Big Screen |
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19 | (1) |
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Performance: Choosing the Take |
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20 | (1) |
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What Constitutes a Good Take? |
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20 | (1) |
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21 | (5) |
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Where Does Style Come From? |
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21 | (2) |
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Developing a Personal Style |
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23 | (3) |
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26 | (5) |
CHAPTER TWO: FILM LANGUAGE |
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31 | (62) |
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31 | (38) |
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32 | (5) |
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37 | (2) |
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39 | (7) |
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Types of Shots: As the Editor Sees Them |
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46 | (9) |
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Types of Cuts and Transitions |
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55 | (11) |
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66 | (3) |
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69 | (13) |
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New Shot = New Information |
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69 | (1) |
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69 | (7) |
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76 | (1) |
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76 | (1) |
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Cut Moving to Moving, Still to Still |
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77 | (1) |
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Finding a Compositional Link |
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78 | (1) |
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79 | (2) |
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81 | (1) |
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81 | (1) |
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82 | (6) |
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Interview: Curtis Clayton |
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88 | (5) |
CHAPTER THREE: EDITING PATTERNS |
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93 | (56) |
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Editing With Common Patterns |
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94 | (4) |
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94 | (1) |
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94 | (1) |
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95 | (1) |
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96 | (2) |
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Working With Narrative Structure |
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98 | (10) |
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99 | (3) |
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102 | (3) |
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105 | (2) |
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107 | (1) |
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108 | (19) |
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108 | (1) |
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109 | (2) |
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111 | (1) |
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112 | (3) |
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Using Setup to Create Suspense |
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115 | (1) |
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116 | (2) |
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Manipulating Cause and Effect |
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118 | (2) |
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120 | (2) |
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Effective Chase Sequences |
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122 | (2) |
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Editing Fight and Battle Sequences |
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124 | (1) |
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Countdown to Climax: Speed Up the Cutting |
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125 | (1) |
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126 | (1) |
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127 | (2) |
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Creating Laughter With Surprise |
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127 | (1) |
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Funnier the Second Time Around |
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127 | (2) |
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129 | (1) |
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129 | (9) |
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Beginning, Middle, and End |
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130 | (1) |
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131 | (1) |
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132 | (3) |
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135 | (1) |
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135 | (3) |
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Editing for Corporate Communications |
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138 | (1) |
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Eliminating Graphic Overload |
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139 | (1) |
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Editing Experimental Video |
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139 | (5) |
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Experimentalists Join the Mainstream |
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140 | (1) |
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Emphasizing Mood Over Plot |
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141 | (1) |
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141 | (1) |
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142 | (1) |
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142 | (2) |
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Interview: Hervé Schneid |
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144 | (5) |
CHAPTER FOUR: PREPARING TO EDIT |
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149 | (60) |
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The Assistant Editor's Guide to Final Cut Pro |
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149 | (24) |
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150 | (23) |
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Logging With Final Cut Pro |
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173 | (13) |
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176 | (2) |
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178 | (3) |
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181 | (4) |
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185 | (1) |
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185 | (1) |
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186 | (1) |
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Entering Additional Information |
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186 | (5) |
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Using the Log Note Field for Longer Notes |
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186 | (1) |
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Setting Markers While Logging |
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187 | (2) |
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189 | (1) |
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Adding Additional Information in Browser Columns |
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190 | (1) |
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191 | (1) |
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191 | (4) |
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Logging Outside of Final Cut Pro |
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195 | (2) |
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Logging From a Window Dub |
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195 | (1) |
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196 | (1) |
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The Offline/Online Workflow |
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197 | (7) |
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198 | (1) |
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199 | (1) |
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200 | (3) |
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Working with Film and Cinema Tools |
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203 | (1) |
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Interview: Steven Minione |
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204 | (5) |
CHAPTER FIVE: BASIC EDITING |
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209 | (70) |
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If It Were Easy, Everyone Would Do It |
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209 | (2) |
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The Disappearing Software |
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210 | (1) |
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211 | (10) |
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212 | (6) |
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218 | (3) |
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221 | (14) |
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221 | (2) |
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What do Markers Look Like? |
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223 | (1) |
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What's Worth Marking? And When? |
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224 | (2) |
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226 | (1) |
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226 | (1) |
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227 | (1) |
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227 | (2) |
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229 | (1) |
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229 | (1) |
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230 | (1) |
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231 | (1) |
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232 | (1) |
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232 | (1) |
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Interacting with Other Applications |
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233 | (2) |
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235 | (16) |
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235 | (3) |
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Picking the Right Editing Style |
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238 | (9) |
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Drag and Drop vs. Keyboard Entry |
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247 | (4) |
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251 | (8) |
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Minimizing Your Video Track Count |
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252 | (2) |
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254 | (5) |
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259 | (15) |
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Deciding Where Transitions Begin and End |
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262 | (3) |
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Changing Effect Parameters |
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265 | (3) |
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268 | (2) |
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Making a Custom Default Transition |
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270 | (1) |
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Making a Custom Transition Button |
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270 | (1) |
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271 | (3) |
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Interview: Valdis Óskarsdóttir |
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274 | (5) |
CHAPTER SIX: ADVANCED EDITING |
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279 | (76) |
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279 | (1) |
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280 | (36) |
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280 | (5) |
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285 | (6) |
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Adjusting Two Edits at Once |
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291 | (1) |
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292 | (5) |
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297 | (2) |
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299 | (1) |
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300 | (5) |
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Trimming Under Transitions |
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305 | (5) |
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310 | (4) |
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314 | (2) |
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316 | (10) |
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Showing Different Angles of the Same Event |
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317 | (1) |
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Syncing a Clip With a Cue Point (Using Match Frame) |
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318 | (2) |
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Replace With In and Out Points |
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320 | (4) |
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Make Sure You Have Enough Media in the Viewer |
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324 | (2) |
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326 | (5) |
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326 | (2) |
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328 | (1) |
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328 | (3) |
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331 | (10) |
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332 | (2) |
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334 | (1) |
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Four-, Five-, and Six-Point Editing |
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335 | (6) |
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Using Subsequences to Manage Large Projects |
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341 | (2) |
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341 | (1) |
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341 | (1) |
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342 | (1) |
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Workaround for Final Cut Express Users |
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342 | (1) |
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343 | (7) |
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What Makes a Sequence Work? |
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343 | (1) |
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Awkward Bridges Between Scenes |
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343 | (1) |
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343 | (2) |
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345 | (5) |
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Interview: Chris Tellefsen |
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350 | (5) |
CHAPTER SEVEN: CUTTING THE TRACK |
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355 | (56) |
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355 | (1) |
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356 | (9) |
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357 | (1) |
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358 | (4) |
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Working with Dual System Recording |
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362 | (3) |
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365 | (3) |
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365 | (3) |
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368 | (6) |
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371 | (1) |
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372 | (2) |
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374 | (6) |
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Don't Use Music to Fix a Bad Edit |
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374 | (1) |
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374 | (1) |
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Selecting Pre-Existing Music |
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375 | (3) |
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378 | (1) |
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378 | (2) |
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380 | (10) |
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Alternate Dialogue Recording (ADR) |
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381 | (9) |
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390 | (6) |
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390 | (2) |
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392 | (4) |
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396 | (7) |
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397 | (3) |
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Adjusting Level and Pan in Final Cut Express |
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400 | (3) |
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403 | (3) |
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The Advantages of ProTools |
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403 | (3) |
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406 | (5) |
CHAPTER EIGHT: SPECIAL EFFECTS |
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411 | (94) |
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411 | (3) |
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Become a Specialist-or Hire One |
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412 | (1) |
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413 | (1) |
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Don't Do Effects in the Camera |
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413 | (1) |
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414 | (1) |
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Organic vs. Inorganic Effects |
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414 | (1) |
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415 | (17) |
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416 | (1) |
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417 | (1) |
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417 | (1) |
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Ramping (Variable Speed Effects) |
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418 | (12) |
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430 | (1) |
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430 | (2) |
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432 | (1) |
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432 | (15) |
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434 | (9) |
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443 | (4) |
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447 | (36) |
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448 | (1) |
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449 | (1) |
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Designing a Picture-in-Picture |
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450 | (1) |
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Starting and Ending the Effect |
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451 | (3) |
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454 | (3) |
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457 | (2) |
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459 | (1) |
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Moving Clips in 3-D Space |
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460 | (4) |
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464 | (1) |
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464 | (1) |
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464 | (3) |
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Controlling Transparency With Alpha Channels |
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467 | (2) |
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469 | (6) |
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475 | (5) |
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480 | (1) |
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481 | (2) |
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483 | (13) |
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484 | (8) |
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492 | (4) |
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Getting In and Out of After Effects |
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496 | (4) |
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500 | (5) |
CHAPTER NINE: THE DIGITAL FUTURE |
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505 | (20) |
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If You Don't Like the Movies, Go Out and Make Some of Your Own |
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506 | (1) |
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506 | (1) |
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507 | (1) |
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Distributing via the Internet (Web Cinema) |
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508 | (9) |
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508 | (1) |
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Outputting Video for the Web |
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509 | (5) |
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Preparing for Your Web Audience |
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514 | (1) |
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515 | (1) |
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516 | (1) |
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Do What's Never Been Done |
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517 | (2) |
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519 | (1) |
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520 | (5) |
APPENDIX |
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525 | (4) |
GLOSSARY |
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529 | (8) |
INDEX |
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537 | |