DV filmmaking : from start to finish /
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| Author / Creator: | Aronson, Ian David. |
|---|---|
| Imprint: | Sebastopol, Calif. : O'Reilly, 2006. |
| Description: | 1 online resource (310 pages) : illustrations. |
| Language: | English |
| Series: | O'Reilly digital studio O'Reilly digital studio. |
| Subject: | |
| Format: | E-Resource Book |
| URL for this record: | http://pi.lib.uchicago.edu/1001/cat/bib/13591017 |
Table of Contents:
- Foreword
- Preface
- 1. The Freedom of Digital Video
- The Flexibility of Digital Recording Versus the Expense and Constraints of Film
- Digital Features: A Brief History of Directors Who Chose Digital Production over Film
- 2. Digital Cinematography
- Aspect Ratio
- Anamorphic Video
- Frame Rate and Video Standards
- Video on Your Computer, Pixel Aspect Ratio
- Why It All Matters in DVD Production
- Swing-out Monitor, Viewfinder, or External NTSC Field Monitor
- Working with a Viewfinder: Color Versus Black and White
- 3. Composing a Shot to Fit Your Output Medium
- An Overview of Shots-Medium Shot, Wide Shot, Close-up, and Extreme Close-up
- Shooting with DVD Compression in Mind
- 4. Lighting for Digital
- What White Balance Does, and Why You Can Never Forget to Set It
- The Importance of Setting an Aperture
- 5. Shooting for Effects
- Preparing a Chroma Key Shoot
- Framing Images with Composites in Mind
- Planning a Matte Effect
- 6. Working with Specialized Camera Mounts
- Stabilizing a Moving Camera
- Using a Camera Dolly
- 7. Recording Audio, an Overview
- Sync-Sound Field Recording and the Birth of Cinema Verite
- The Impact of the Camcorder
- Current Recording Options
- 8. Digital Audio Production Techniques and Strategies
- Microphone Types
- Maintaining Sync
- Strategies for Recording Good Digital Audio
- 9. An Overview of Nonlinear Editing
- Timelines, Frames, and Tracks-How Nonlinear Editing Benefits the Independent Filmmaker
- Making the Most of Nondestructive Editing: The Difference Between Project Files and Media Files
- How Timecode Makes Nonlinear Editing Possible
- 10. Setting Up Your Digital Post Facility
- Is My Computer Fast Enough?
- Capture and Storage Systems
- The Importance of a Well-Calibrated NTSC Monitor
- 11. An Overview of Composite Images
- What an Alpha Channel Does
- Importing Images and Adding Them to the Timeline
- Rendering Your Work
- Creating Images in Photoshop for Use in Digital Video
- 12. Compositing Techniques to Make Your Project Look Like It Cost More Than It Really Did
- Creating the Houston Street Composites
- 13. Artistically Using Still Images
- Animating Still Photos to Simulate Camera Movements
- 14. Creating Titles, Static and Animated
- Creating Static Titles
- Animating a Title in After Effects
- Creating Scrolling or Crawling Titles in Final Cut Pro
- Adding Still Images to Your Titles
- 15. Bringing Your Title Sequence into Your Project
- Building Your Opening Sequence in Final Cut Pro
- Building Your Opening Sequence in After Effects
- Joining Your Opening Sequence to the Body of Your Film
- 16. Color Correction
- How Color Functions in Video, an Overview
- Audiences' Subconscious Response to Color, and How You Can Make Use of It
- Making Your Video Broadcast Safe
- 17. The Concept of Sound Design
- Layering Audio Tracks
- Replacing Missing or Poorly Recorded Audio
- 18. Sound Design, from Nuts and Bolts to Fine Tuning
- Refining the Natural Sound in Your Sequence
- Adding Music to Your Film
- A. The Release Print
- Creating a Broadcast Master
- Striking a Film Print
- Outputting Your Audio
- Mastering to DVD, and the Benefits of Distributing Your Work in a Digital Format
- Streaming Your Work on the Internet
- Making Your Voice Heard
- B. The Last Step: Negotiating a Sale (and Why You Should Always Bargain Up)
- Getting Your Film Seen: How Festival Exposure and Press Coverage Can Get You Noticed
- The Option of Self-Distribution and the Story of Mary Jane's Not a Virgin Anymore
- D.I.Y. or Die: Taking Your Work on Tour
- Don't Sell Yourself Short
- Why Good Business Cards Are Important
- Index