Skip to main content

Final Cut Pro 3 and the Art of Filmmaking

Final Cut Pro 3 and the Art of Filmmaking

Jason Cranford Teague, David Teague

ISBN: 978-0-782-14027-9

Apr 2002

396 pages

Select type: Paperback

Product not available for purchase

Description

Despite its intuitive interface, Final Cut Pro still requires craft and skill to use well.

This full-color book provides a hands-on, practical guide to all aspects of editing digital movies, with an emphasis on the kinds of tips, tricks, and shortcuts that professionals rely on to quickly get polished results.

Whether you're approaching Final Cut Pro from a purely creative angle or from a more corporate perspective, whether you're an emerging filmmaker or a seasoned vet, Final Cut Pro 3 and the Art of Filmmaking gives you the insights, information, and lessons you'll need to complete tasks that film editors face every day, including:
* Mastering Final Cut Pro 3's new features, such as Voice Over, G4 Real-Time Effects, Titling, QuickView, and more
* Editing clips in the Timeline
* Creating transitions and complex overlays
* Adding effects, applying filters, and working with text
* Using the audio tools to make your film sound as good as it looks
* Readying your finished product for delivery--on the Internet, on videotape, or on DVD
In the course of this book, you'll learn shooting tips designed to help later in the edit room. You'll also hear from experienced editors on how they're using Final Cut Pro to capture the immediacy that digital video makes possible, while meeting the twin challenges of limited time and money.

Note: Our thanks to Ken Stone for his Final Cut Pro expertise. Ken has an excellent online resource center that we encourage you to visit: www.kenstone.net/fcp_homepage/fcp_homepage_index.html
Introduction.

Chapter 1: Setting Up Your Workstation.

Chapter 2: Getting to Know Final Cut Pro.

Chapter 3: Creating Your Footage.

PART I: GETTING STARTED.

Chapter 4: Logging Your Footage.

Chapter 5: Capturing Your Footage.

Chapter 6: Working with Your Footage.

Chapter 7: Making Smart Edits.

PART II: EDITING YOUR MOVIE.

Chapter 8: Adding Transitions.

Chapter 9: Adding Titles.

Chapter 10: Using Image Control.

PART III: ADDING SPECIAL EFFECTS.

Chapter 11: Manipulating the Image.

Chapter 12: Compositing and Alpha Channels.

Chapter 13: Using Motion Controls.

PART IV: ADVANCED TECHNIQUES.

Chapter 14: Creating Special Effects with Key Filters.

Chapter 15: Fine-Tuning Your Audio.

Chapter 16: Making Keyframes Work for You.

Chapter 17: Putting It All Together.

Chapter 18: Managing Your Media.

PART V: AFTER THE EDITING IS DONE.

Chapter 19: Printing to Video.

Chapter 20: Compressing Video for the Web, CDs, and DVDs.

Glossary of Terms.

Index.

Using the Companion DVD.

Bonus Tutorial: Creating a Compression Template with Discreet Cleaner
Download
Download Coney Island Memories project files
Download
Download Coney Island Memories (FCP2) project files
Download
Download Coney Title Final2 PSD (photoshop) file
Download
ChapterPageDetailsDatePrint Run
Combined Errata

Page 0 DVD

IMPORTANT NOTICE, regarding Project Files -

There is a problem with the DVDs in the first printing of Final Cut Pro 3 and the Art of Filmmaking that corrupted the project file
Coney_Island_Memories so that it will not work in Final Cut Pro. This problem only affects the Final Cut Pro project file and not the media or other files on the DVD.

Below is the link to download replacement project files depending on which version of Final Cut Pro you are using. Select the link for your version, unstuff the downloaded file, and then move the new project file into the tutorials folder, replacing the old project file of the same name. You should now be able to follow the instructions in the book for working with lessons.

Please reference the following link:

http://www.wiley.com/WileyCDA/WileyAncillary/productCd-0782140270,typeCd-DOWNLOAD.html


Or should a need arise, the following alternate link may be used:

http://www.webbedenvironments.com/fcp

We apologize for the inconvenience.

Page 8

2nd column, options under diagram, should read:

A. RCA Right Audio
B. RCA Left Audio
C. Composite Video
D. S-Video
E. Mini Plug

Page 11

1st column, options under diagram, should read:

A. RCA Right Audio
B. RCA Left Audio
C. Composite Video
D. S-Video
E. Mini Plug

Page 20

What are NTSC and PAL? tip box at the bottom of the page, first column, last sentence, should read: "North American systems, at 120 volts, pulses at 60 pulses per second (60Hz). Most of the rest of the world runs on 220/240 volts pulsing at 50 pulses per second (50Hz)."

Page 70

First column, para 1, line 2, should read: " You normally want the levels to peak around

-12dB and not to go above -3dB on the Audio Meter."

First column, para 3, lines 5-9 should read: "If you are using a DAT tape captured through a capture card, remember that unlike DV audio, which is sampled at 48KHz,

DAT audio can be recorded at different sampling rates, but 48KHz is recommended for editing in Final Cut Pro with DV footage."

Page 78

First column, para 2, line 7, "on the desktop" should read "on a hard drive"

Page 84

Second column, para 1, line 2, "some padding" should read "handles (extra footage)"

Page 91

First column, item B, last sentence should read: "This is good for saving hard disk space, but it can cause problems later when using the Media Manager."

Page 177

Second column, line 13, "720 x 540" should read "720 x 534"

Page 189

Chapter 10 tip box, para 2, line 3, "three" should read "four"

Page 282

Tip box: Working with Audio Clips Quickly, lines 4-9, should read:
"It's not recommended to mix sample rates in the same sequence, so if you are mixing CD audio with other audio, you will need to upsample and transcode your CD audio to play at 48KHz. You can do this by using QuickTime or iTunes to transcode the audio file to an AIFF file."

Page iv, 288, 289

"Stephen Lippman" should read "Steven Lippman"