adobe production premium for final cut studio editors 2009 phần 6 pptx
adobe production premium for final cut studio editors 2009 phần 6 pptx
... clip inside FCP, select the video for-
mat that matches your Final Cut sequence settings.
For instance, if you are working with a 16: 9 DV NTSC
sequence in Final Cut, you would select DV/DVCPRO ... is because Final Cut is using it
in the current project. To solve this, quit Final Cut, then save your
file. The clip will be updated the next time you open your project
in Fi...
adobe production premium for final cut studio editors 2009 phần 1 pptx
... Data
Jordan, Larry, 1950-
Adobe CS production premium for Final cut studio editors / Larry Jordan.
p. cm.
Includes index.
ISBN 978-0-240-81223 -6
1. Motion pictures Editing. 2. Final cut (Electronic resource) 3. Digital video ... metadata•
Integration with Production Premium and Final Cut Studio
Why I Like Adobe Bridge
Final Cut Pro has its Browser, the Fin...
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... easier.
Mostly.
Sadly, Final Cut Pro does not read XMP metadata natively, but
Final Cut Server does – provided it is contained in still-image
data. At this point, Final Cut Server does not read ... writing, Final Cut Studio does not read XMP files. This means that you
can’t access all this metadata when working in Final Cut Pro. The way I work around this is to use Br...
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... file.
Also, and this isn’t Adobe s responsibility, Final Cut needs to
access all XMP metadata. Adobe is way ahead of Final Cut in how
it manipulates metadata. At this point, Final Cut stores metadata ... working exclusively in
Adobe applications. Use AIF for files transferred from Final Cut.
The WAV files are most common on the PC.
To export a clip or sequence from Fina...
adobe production premium for final cut studio editors 2009 phần 4 pps
... outside Final Cut Studio, you use Open in
Editor to reopen it to make changes. If the media originated in
Final Cut Studio, you use Send. In either case, final rendering is
done in Final Cut Pro, ... application.
A Reason to Use Both Final Cut Pro
and Premiere Pro
Most of the time, Final Cut Pro is fine for editing. But, here’s
a reason to consider using both Final...
adobe production premium for final cut studio editors 2009 phần 5 pot
... 72.
Video format Aspect ratio Resize image to size
DV NTSC 4:3 64 0 3 480 3 72
16: 9 64 0 3 360 3 72
SD NTSC 4:3 64 0 3 480 3 72*
16: 9 64 0 3 360 3 72*
PAL 4:3 768 3 5 76 3 72
16: 9 1024 3 5 76 3 72
HD ... Frames from Final Cut Pro
Just as we can get still images created in Photoshop into Final
Cut using importing, so also we can get stills out of Final Cut by
exporting...
adobe production premium for final cut studio editors 2009 phần 7 ppt
... Photos
Dan Shellenbarger
Executive Director, Ohio Channel
Sr. Lecturer, The Ohio State University
http://www.DVplace.com
I do all my photo prep for Final Cut in
Adobe s Photoshop. Much like ... or LAB, are designed for print and will not display properly if you
try to use them in Final Cut. RGB images are required for display on the web and video.
Figure 8.13
2 06 Chapter 8 TR...
adobe production premium for final cut studio editors 2009 phần 8 ppt
...
also the default alpha channel setting for Final Cut.
Click the Render button, and after a period of time, your new
clip is exported and ready for Final Cut. The amount of time this
takes depends ... with other Adobe applications, similar to •
how DVD Studio Pro integrates with other Final Cut Studio
applications.
Display your Blu-ray Disc layout as a Flowchart (simi...
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... a variety of formats for DVD or Web
distribution.
In earlier versions of Final Cut, we could round-trip files (what
Adobe calls Dynamic Linking) by sending them between Final
Cut and Motion, ...
options for getting files to the Web: Share and Send. (For those
that have an earlier version of Final Cut, all is not lost. We dis-
cussed how to create high-quality exports from F...
adobe production premium for final cut studio editors 2009 phần 10 potx
...
190, 191
workflow, 90–91
Final Cut Pro (FCP) 7, 220,
221–225, 250
Final Cut Studio, 82–83
integrating Adobe Bridge
with, 37–38
Flash movies, 95–97, 2 36, 249,
260 , 261
Format Setting in FCP, ... TV, H. 264 for iPod at 320 3 240,
and H. 264 for iPod at 64 0 3 480. For compression to the
iPhone, use the 64 0 3 480 option (see Fig. 11.9).
Once you determine the best co...
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