Nonlinear Editing: Storytelling, Aesthetics, and CraftTaylor & Francis, 2002 - 523 páginas The art of editing in a nonlinear mode cannot be gleaned from software application manuals. This book is designed to convey the artistic considerations and techniques that both new and experienced editors need to employ in editing digital stock. Readers learn the importance of timing, emotion, and art in assembling a cohesive project that tells a story with the appropriate flow and pace. Each chapter features interviews with professionals and exercises relevant to the subject matter under discussion. |
Dentro del libro
Resultados 6-10 de 10
Página 281
Lo sentimos, el contenido de esta página está restringido..
Lo sentimos, el contenido de esta página está restringido..
Página 291
Lo sentimos, el contenido de esta página está restringido..
Lo sentimos, el contenido de esta página está restringido..
Página 449
Lo sentimos, el contenido de esta página está restringido..
Lo sentimos, el contenido de esta página está restringido..
Página 518
... composite modes 270–272 compositing worksheet 269 , 485- 486 composition 112 , 198-199 , 215 , 220-262 compression 62 , 67 , 120 , 209 , 310 , 331–332 , 334–336 , 339-340 , 343 , 473 , 491 confessional booth syndrome 47 conflict 31-32 ...
... composite modes 270–272 compositing worksheet 269 , 485- 486 composition 112 , 198-199 , 215 , 220-262 compression 62 , 67 , 120 , 209 , 310 , 331–332 , 334–336 , 339-340 , 343 , 473 , 491 confessional booth syndrome 47 conflict 31-32 ...
Página 522
... composite modes transposing genre 94 treble 304 , 307 , 309 , 339 Trier , Lars von 139 true color 233 Truffaut , François 137 Turbo Internet 509 , 511 Twelve Monkeys 180 Twin Peaks 313 two - shot 117 U Ulaw 63 Un Chien Andalou 250 ...
... composite modes transposing genre 94 treble 304 , 307 , 309 , 339 Trier , Lars von 139 true color 233 Truffaut , François 137 Turbo Internet 509 , 511 Twelve Monkeys 180 Twin Peaks 313 two - shot 117 U Ulaw 63 Un Chien Andalou 250 ...
Contenido
Chapter 1 Gathering the Editors Tools | 19 |
Chapter 2 Planning the Process | 73 |
Chapter 3 Giving Respect Where Respect Is Due | 111 |
Chapter 4 Gathering Around the Campfire | 147 |
Chapter 5 Overcoming Story Problems | 167 |
Chapter 6 Tripping on Transitions | 185 |
Chapter 7 Color and Composition | 219 |
Chapter 8 Compositing and the Editor | 265 |
Chapter 9 Dynamic Sound | 295 |
Chapter 10 How Do I Break In? | 345 |
Chapter 11 Clients and Chaos | 387 |
Chapter 12 Conclusions and Continuity | 411 |
Chapter 13 Useful Lists | 445 |
517 | |
Color Plate Section | i |
Términos y frases comunes
actor allow alpha channel areas artists audience audio audio mix Avid background blue Bryce camera character choice choose chroma key client clip color common composite create creative David Lynch dialog digital video director documentary edit bay editor effects elements emotional feel files Film editors filmmakers Final Cut Final Cut Pro FireWire folder font footage foreground format frame freelance going graphics Internet ISBN issues keep layer light logging look Mac OS X material Media Media Composer Mind Mapping monitor move Moviola narrative NLE system NTSC offer options particular Photoshop piece problems producer questions QuickTime relationship resumé rhythm scene screen script sense sequence shooting shot simply sound story structure suggest tape things timecode timeline tion tracks understanding viewer visual Walter Murch you’ll