Editing Techniques with Final Cut Pro

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Edition: 2nd
Format: Paperback
Pub. Date: 2004-01-01
Publisher(s): Peachpit Press
List Price: $39.99

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Summary

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. Book jacket.

Author Biography

Michael Wohl has worked as a professional film and video editor for 15 years

Table of Contents

INTRODUCTION: THE INVISIBLE ART XIII
CHAPTER ONE: THE EDITOR'S JOB 1(30)
Where the Editor Fits In
2(1)
The Editing Process
3(10)
What Kind of Film Are You Making?
3(3)
Getting to Know Your Tools
6(1)
The Importance of Knowing Your Audience
6(1)
The Value of Getting Involved Early
7(2)
Working With the Director
9(1)
Protocol in the Editing Room
9(2)
Reading the Script
11(1)
Viewing the Footage
11(1)
Budgeting Time for Sound Design
12(1)
Coordinating Special Effects Production
12(1)
Practicing the Art of the Possible
13(1)
Choosing the Shot
13(7)
Composition
14(4)
Lighting Problems
18(1)
Audio Problems
18(1)
Checking It Out on the Big Screen
19(1)
Performance: Choosing the Take
20(1)
What Constitutes a Good Take?
20(1)
Style and How to Get It
21(5)
Where Does Style Come From?
21(2)
Developing a Personal Style
23(3)
Interview: Brian Berdan
26(5)
CHAPTER TWO: FILM LANGUAGE 31(62)
Types of Shots
31(38)
Subject Size
32(5)
Camera Angle
37(2)
Camera Movement
39(7)
Types of Shots: As the Editor Sees Them
46(9)
Types of Cuts and Transitions
55(11)
Punctuation
66(3)
Rules of Film Grammar
69(13)
New Shot = New Information
69(1)
Screen Direction
69(7)
Cutting on Action
76(1)
Matching Your Shots
76(1)
Cut Moving to Moving, Still to Still
77(1)
Finding a Compositional Link
78(1)
Manipulating Time
79(2)
Respecting Silence
81(1)
Setting the Pace
81(1)
Storytelling
82(6)
Interview: Curtis Clayton
88(5)
CHAPTER THREE: EDITING PATTERNS 93(56)
Editing With Common Patterns
94(4)
Starting a Scene
94(1)
Changing Locations
94(1)
Shot-Reverse Shot
95(1)
Montage
96(2)
Working With Narrative Structure
98(10)
Cut Audio First
99(3)
Dialogue for Two
102(3)
Three or More People
105(2)
Editing a Soliloquy
107(1)
Editing Action Sequences
108(19)
Preserving Continuity
108(1)
Preserving Momentum
109(2)
Cutting on Action
111(1)
Building Tension
112(3)
Using Setup to Create Suspense
115(1)
The Cliffhanger
116(2)
Manipulating Cause and Effect
118(2)
Cutting the Shoot-out
120(2)
Effective Chase Sequences
122(2)
Editing Fight and Battle Sequences
124(1)
Countdown to Climax: Speed Up the Cutting
125(1)
Cooling It Down
126(1)
Cutting for Comedy
127(2)
Creating Laughter With Surprise
127(1)
Funnier the Second Time Around
127(2)
Giving it Room to Play
129(1)
Documentary Patterns
129(9)
Beginning, Middle, and End
130(1)
Documenting an Event
131(1)
Cutting Interviews
132(3)
Editing Narration
135(1)
Working With B-roll
135(3)
Editing for Corporate Communications
138(1)
Eliminating Graphic Overload
139(1)
Editing Experimental Video
139(5)
Experimentalists Join the Mainstream
140(1)
Emphasizing Mood Over Plot
141(1)
Rhythm
141(1)
Consistency of Style
142(1)
Editing Hints
142(2)
Interview: Hervé Schneid
144(5)
CHAPTER FOUR: PREPARING TO EDIT 149(60)
The Assistant Editor's Guide to Final Cut Pro
149(24)
Preparing Your Workspace
150(23)
Logging With Final Cut Pro
173(13)
Log and Capture Window
176(2)
Required Fields
178(3)
When to Use Auto-naming
181(4)
Why All These Fields?
185(1)
How to Log Short Clips
185(1)
How to Log Long Clips
186(1)
Entering Additional Information
186(5)
Using the Log Note Field for Longer Notes
186(1)
Setting Markers While Logging
187(2)
Good, Better, Best
189(1)
Adding Additional Information in Browser Columns
190(1)
Speed Logging
191(1)
Auto Scene Detection
191(4)
Logging Outside of Final Cut Pro
195(2)
Logging From a Window Dub
195(1)
Importing Batch Lists
196(1)
The Offline/Online Workflow
197(7)
Offline RT
198(1)
Making Low-Res Files
199(1)
Finalizing the Show
200(3)
Working with Film and Cinema Tools
203(1)
Interview: Steven Minione
204(5)
CHAPTER FIVE: BASIC EDITING 209(70)
If It Were Easy, Everyone Would Do It
209(2)
The Disappearing Software
210(1)
Working with Clips
211(10)
Marking Clips
212(6)
Marking Subclips
218(3)
Working with Markers
221(14)
Marking a Moment in Time
221(2)
What do Markers Look Like?
223(1)
What's Worth Marking? And When?
224(2)
Naming Markers Wisely
226(1)
Marking a Range of Time
226(1)
Deleting Markers
227(1)
Navigating with Markers
227(2)
Searching for Markers
229(1)
Snapping to Markers
229(1)
Reposition Marker
230(1)
Extend Marker
231(1)
Subclips in Disguise
232(1)
Marking Music Beats
232(1)
Interacting with Other Applications
233(2)
Building Sequences
235(16)
Three-Point Editing
235(3)
Picking the Right Editing Style
238(9)
Drag and Drop vs. Keyboard Entry
247(4)
Timeline Editing
251(8)
Minimizing Your Video Track Count
252(2)
Editing on Two Tracks
254(5)
Transitions
259(15)
Deciding Where Transitions Begin and End
262(3)
Changing Effect Parameters
265(3)
Custom Transitions
268(2)
Making a Custom Default Transition
270(1)
Making a Custom Transition Button
270(1)
Transitions as Fades
271(3)
Interview: Valdis Óskarsdóttir
274(5)
CHAPTER SIX: ADVANCED EDITING 279(76)
In the Groove
279(1)
Trimming
280(36)
Roll Edit
280(5)
Ripple Edit
285(6)
Adjusting Two Edits at Once
291(1)
Slip Edit
292(5)
Slide Edit
297(2)
Play Around Your Edit
299(1)
The Trim Edit Window
300(5)
Trimming Under Transitions
305(5)
Trimming Multiple Tracks
310(4)
Snap and Trim
314(2)
The Replace Edit
316(10)
Showing Different Angles of the Same Event
317(1)
Syncing a Clip With a Cue Point (Using Match Frame)
318(2)
Replace With In and Out Points
320(4)
Make Sure You Have Enough Media in the Viewer
324(2)
Gang Sync
326(5)
Follow Mode
326(2)
Open Mode
328(1)
Gang Mode
328(3)
Split Edits
331(10)
Fine Tuning a Split Edit
332(2)
Split Marks
334(1)
Four-, Five-, and Six-Point Editing
335(6)
Using Subsequences to Manage Large Projects
341(2)
A Live Link
341(1)
No EDL Support
341(1)
Edit Sequence Contents
342(1)
Workaround for Final Cut Express Users
342(1)
The Big Picture
343(7)
What Makes a Sequence Work?
343(1)
Awkward Bridges Between Scenes
343(1)
The Overall Story
343(2)
Make it Shorter
345(5)
Interview: Chris Tellefsen
350(5)
CHAPTER SEVEN: CUTTING THE TRACK 355(56)
Sound Makes the Show
355(1)
The Audio Workflow
356(9)
Capturing Audio
357(1)
Audio Shapes
358(4)
Working with Dual System Recording
362(3)
Sound Editing
365(3)
Dialogue Tracks
365(3)
Sound Effects Tracks
368(6)
Ambiences
371(1)
Non-Environmental Sounds
372(2)
Music and Score
374(6)
Don't Use Music to Fix a Bad Edit
374(1)
Temporary Music
374(1)
Selecting Pre-Existing Music
375(3)
Hiring a Composer
378(1)
Working with Soundtrack
378(2)
Re-Recording Audio
380(10)
Alternate Dialogue Recording (ADR)
381(9)
Audio Sweetening
390(6)
Removing Pops
390(2)
Problem Solving Filters
392(4)
The Final Mix
396(7)
Mixing in Final Cut Pro
397(3)
Adjusting Level and Pan in Final Cut Express
400(3)
Exporting for ProTools
403(3)
The Advantages of ProTools
403(3)
Interview: John Wilson
406(5)
CHAPTER EIGHT: SPECIAL EFFECTS 411(94)
Getting Started
411(3)
Become a Specialist-or Hire One
412(1)
Employ the Right Tool
413(1)
Don't Do Effects in the Camera
413(1)
Types of Visual Effects
414(1)
Organic vs. Inorganic Effects
414(1)
Speed Effects
415(17)
Slow Motion
416(1)
Fast Motion
417(1)
Time Lapse
417(1)
Ramping (Variable Speed Effects)
418(12)
Freeze Frames
430(1)
Fit to Fill
430(2)
Speed and Audio
432(1)
Filter Effects
432(15)
Color Correction
434(9)
Abstract Filters
443(4)
Compositing
447(36)
Superimposing Edit Style
448(1)
Motion Effects
449(1)
Designing a Picture-in-Picture
450(1)
Starting and Ending the Effect
451(3)
Controlling Clip Motion
454(3)
Easing In and Out
457(2)
Applying Motion Blur
459(1)
Moving Clips in 3-D Space
460(4)
Mixing Layers
464(1)
Opacity
464(1)
Using Composite Modes
464(3)
Controlling Transparency With Alpha Channels
467(2)
Keying
469(6)
Making Mattes
475(5)
Traveling Mattes
480(1)
Nest Sequences
481(2)
CG
483(13)
Generators
484(8)
Importing Files
492(4)
Getting In and Out of After Effects
496(4)
Interview: Paul Hirsch
500(5)
CHAPTER NINE: THE DIGITAL FUTURE 505(20)
If You Don't Like the Movies, Go Out and Make Some of Your Own
506(1)
Hope From the Internet
506(1)
Marketing on the Web
507(1)
Distributing via the Internet (Web Cinema)
508(9)
Web Video Today
508(1)
Outputting Video for the Web
509(5)
Preparing for Your Web Audience
514(1)
Hosting Your Video
515(1)
What's the Web Good For?
516(1)
Do What's Never Been Done
517(2)
Tell Your Stories
519(1)
Interview: Walter Murch
520(5)
APPENDIX 525(4)
GLOSSARY 529(8)
INDEX 537

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