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 11-15 de 58
Página 82
Lo sentimos, el contenido de esta página está restringido..
Lo sentimos, el contenido de esta página está restringido..
Página 83
Lo sentimos, el contenido de esta página está restringido..
Lo sentimos, el contenido de esta página está restringido..
Página 84
Lo sentimos, el contenido de esta página está restringido..
Lo sentimos, el contenido de esta página está restringido..
Página 85
Lo sentimos, el contenido de esta página está restringido..
Lo sentimos, el contenido de esta página está restringido..
Página 89
Lo sentimos, el contenido de esta página está restringido..
Lo sentimos, el contenido de esta página está restringido..
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