Pyro Industries API-1394PCI Manuel d'utilisateur Page 42
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- Table des matières
- MARQUE LIVRES
Noté. / 5. Basé sur avis des utilisateurs
21
■ CAPTURING
Chapter Contents
Considerations Before You Capture
Using a Deck for Capture
The Capture Tool:Capture Controls
The Capture Tool:Deck and Camera Controls
Tutorial:Capturing to Your Avid
Capturing
The first step in the editing workflow that was
described in Chapter 1 is the process of capturing
media. But before we begin this process, let’s make
sure that everything on your system is ready to go.
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- AVID MADE EASY: 2
- AVID MADE EASY 4
- Acknowledgments 10
- About the Author 11
- Contents 12
- Chapter 3 Basic Editing 81 13
- Chapter 4 The Timeline 135 14
- Chapter 5 Trimming 169 14
- CONTENTS ■ 15
- ■ CONTENTS 16
- Glossary 291 17
- Introduction 18
- INTRODUCTION ■ 19
- How to Use this Book 20
- The Companion DVD 20
- How to Contact the Author 20
- Introduction to 22
- Avid and Editing 22
- Into Nonlinear Editing 23
- ■ INTO NONLINEAR EDITING 24
- The Avid Product Line 25
- ■ THE AVID PRODUCT LINE 26
- NuBus Avids 27
- PCI Avids 29
- Meridien Avids 30
- DNA Avids 31
- Figure 1.7 An Adrenaline box 32
- Editing Workflow 33
- ■ EDITING WORKFLOW 34
- Figure 1.10 Editing the media 37
- Figure 1.11 Trimming 38
- Figure 1.13 Designing 39
- Figure 1.12 Prepping 39
- Figure 1.15 Output 41
- Capturing 42
- System Recommendations 43
- Xpress Pro 44
- 2: CAPTURING ■ 45
- Allotting Proper Drive Space 46
- Tape-Naming Conventions 49
- Choosing a Resolution 49
- Determining the Final Product 50
- Using a Deck for Capture 51
- FireWire 51
- ■ USING A DECK FOR CAPTURE 52
- RS-422 into Mac serial 53
- Figure 2.7 RS-422 connector 53
- Video Connectors 54
- BNC CONNECTORS 54
- RCA OR PHONO CONNECTORS 54
- Figure 2.11 A 55
- Figure 2.10 RCA/phono 55
- The Capture Button 60
- The Trash Can Button 60
- The Deck Button 62
- Audio Tool 64
- Passthrough Mix tool 64
- Audio Project Settings 67
- Setting Audio Input Levels 68
- Choosing Recording Tracks 70
- Naming and Commenting Clips 71
- The Message Bar 72
- Choosing the Target Bin 73
- Selecting Media Resolution 73
- Selecting Target Drives 74
- DV Capture Offset 75
- Identifying the Source Tape 77
- Figure 2.31 Selecting a tape 78
- The Marks Registers 82
- Capture Keyboard Shortcuts 84
- DV Scene Extraction 85
- > DV Scene Extraction 86
- Logging with the Capture Tool 88
- Understanding Frame Code Mode 88
- Capturing with Mojo 94
- Opening the Capture Tool 96
- Adjusting Audio Levels 97
- Naming the Tape 98
- Setting Points 98
- Choosing a Drive 98
- Basic Editing 102
- How to Make Editing Fun 103
- 3: BASIC EDITING ■ 105
- A Quick Walk Around the GUI 106
- The Toolsets 108
- Basic Toolset 109
- Source/Record Editing Toolset 110
- Effects Editing Toolset 111
- Audio Editing Toolset 112
- Capture Toolset 112
- A Tour of the Interface 113
- Bins Tab 114
- Figure 3.11 Hamburger menu in 116
- Figure 3.14 Audio Project 118
- Settings window 118
- Figure 3.19 Desktop Play 120
- Delay Settings window 120
- ■ A TOUR OF THE INTERFACE 122
- Effects Tab 127
- Info Tab 128
- Clip Menu 129
- Mini-Timeline 130
- Source and Record Buttons 130
- Figure 3.44 Locator window 133
- Continues 134
- Timecode Registers 136
- Brief View 137
- Text View 137
- > Headings 138
- Script View 139
- The Timeline 140
- Audio Meters 145
- Prepping the Project 147
- Loading Clips 148
- Marking Clips 148
- Navigating through Media 150
- Making the Edit 151
- 1. Mark In Source 154
- 2. Mark Out Source 154
- 3. Mark In Record 154
- 4. Splice 154
- Source Track Panel 157
- I Want My Filmstrip! 159
- MONITORING 160
- SCRUBBING AUDIO 161
- Patching Tracks 162
- The Rules of Patching Tracks 163
- Sync Locks 163
- Figure 4.10 (left) Sync locks 164
- 3. The track is unlocked 165
- Adding Audio Tracks 166
- Deleting Tracks 167
- The Audio Tool 168
- Reset Peaks 169
- Set Reference Level 169
- Tone Media 170
- Bars and Tone Standards 171
- Figure 4.20 Bars and tone in 172
- Audio Settings 173
- Input Settings 173
- Output Settings 173
- Sampling Rates 174
- Lift/Overwrite Mode 175
- 2. Click the B shot 175
- ■ THE AUDIO TOOL 176
- 4: THE TIMELINE ■ 177
- Video Quality Previewing 178
- Timeline Scroll 179
- Other Options 181
- Timeline Settings menu 182
- Tutorial: Building a Timeline 184
- 3. Click the New Bins button 184
- Analog Scrub 186
- Moving a Segment 187
- Deleting Clips 188
- Trimming 190
- What Is Trimming? 191
- Trim Selection 192
- Figure 5.2 Trim mode 193
- Trim Loop 194
- A-Side Source Trimming 195
- B-Side Source Trimming 196
- Trimming Both Sides 196
- Trimming Methods 197
- Adding Rollers 198
- Button Trimming 198
- Trimming by Numerical Entry 199
- Trimming on the Fly 200
- J-K-L Trim (Xpress Pro Only) 200
- Figure 5.12 J-K-L Trim option 201
- Slipping 202
- Figure 5.13 Slipping 203
- Figure 5.16 Sliding 204
- More Trimming Considerations 205
- Adding Filler While Trimming 206
- Extend Function 206
- Maintaining Sync 207
- Tutorial: Trimming Sequences 209
- 1. Take a deep breath 209
- Sync Breaks 210
- Trimming Using Rollers 210
- Trimming Using Digital Scrub 211
- Using the Trim Buttons 211
- Importing, Exporting 212
- Still Graphics 213
- Frame Size 214
- ×486; that 214
- ×480. Digital video (DV) 215
- Pixel Aspect 216
- Figure 6.4 Small image 217
- Color Levels and Color Space 218
- Field Ordering 219
- ■ STILL GRAPHICS 220
- Alpha Channel 221
- Importing Graphic Files 222
- Single Frame Import Duration 223
- Importing Audio from a CD 227
- Importing QuickTime Files 228
- Exporting 229
- Macintosh Image 230
- Windows Image 230
- Creating Your Own Settings 231
- Graphic Exports 231
- Single-Frame Graphic Exports 232
- Exporting Audio Files 233
- Figure 6.15 Audio sampling 234
- Two Types of QuickTime Movies 235
- ■ EXPORTING 236
- Using and Copying Codecs 237
- Exporting Sequences 238
- Saving the Export Settings 239
- Drag-and-Drop Exporting 239
- Exporting QuickTime Movies 240
- Audio Codecs 242
- Other Movie Exports 243
- Exporting OMFI Files 244
- Exporting AAF Files 244
- Digital Cut 246
- Editing Bars and Tone 247
- Adding the Slate 248
- Rendering Effects 249
- Convert Audio Sample Rates 249
- Look Busy! 250
- Assemble Edit 251
- Crash Recording 251
- Configure the Record Deck 252
- Figure 6.25 Selecting a deck 253
- Deleting Deck Configurations 254
- ■ DIGITAL CUT 256
- Figure 6.30 Selecting a 257
- Digital Cut with Mojo 258
- Tutorial: Import and Export 259
- 3. Select Create Tone Media 259
- Adding Bars 260
- Adding a Slate 261
- Render Effects 262
- Rendering with Mojo 263
- Converting Audio Sample Rates 264
- Calibrating for Output 264
- Effects and Transitions 266
- Motion Effects 267
- Motion Effects Interpolation 268
- Freeze Frames 269
- Standard Motion Effects 270
- Object and Alignment Menus 271
- Title Tool GUI 272
- Figure 7.7 Customizing 273
- Figure 7.6 Title styles tear 273
- Figure 7.9 Jaggy fonts 274
- Figure 7.8 Color 274
- 7: EFFECTS AND TRANSITIONS ■ 275
- ■ TITLES 276
- Palette Effects 277
- Applying Effects 278
- Removing Effects 278
- Real-Time Playback of Effects 278
- Transition Effects 279
- ■ PALETTE EFFECTS 280
- The Effect Editor 281
- Adjusting Parameters 282
- BORDER COLOR 283
- BORDER BLEND COLOR 283
- Acceleration 284
- Background 285
- Saving Effect Templates 287
- Timecode Navigation 288
- Editing with Keyframes 289
- Adding a Keyframe 290
- Selecting Multiple Keyframes 290
- Deleting a Keyframe 290
- Moving Keyframes 291
- ■ EDITING WITH KEYFRAMES 292
- Building Vertical Effects 293
- Real-Time Effect Playback 294
- The Laws of Rendering 296
- Submaster Effect 297
- Step Nesting 299
- Expansion Nesting 300
- Nesting Order and Autonesting 302
- Autonesting 302
- Effect Priority 302
- 3D Warp (Xpress Pro) 303
- Experimenting with Effects 304
- What’s New in 306
- Xpress Pro HD 306
- HD output 307
- New Resolutions 309
- AVX 2.0 Support 311
- Marquee Titles 311
- Film Enhancements 311
- Glossary 312
- GLOSSARY ■ 313
- ■ GLOSSARY 314
- INDEX ■ 341
- 54–55, 55 348
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