American Cinematographer - December 2004 - 114
New
Cinematographers
by Alexander Ballinger
Extended studies of each
cinematographer's work-fully
illustrated with stills,
lighting
The
allows the
Snap-on Sample option
user
include DeHummer, which removes hum,
and DeEsser, which removes excessive
sibilance and hiss.
New
charts and
storyboards--help
show how each translates
their aesthetic vision into the
actual filmed work. The book
includes
a
detailed
resource
to have future audio edits
automatically snap to the same individual
sample level within a frame of video as
the first edit. Two new audio plug-ins
smoother,
bezier
more
controls
achieve
natural results in motion
paths and the speed at which they are
a quick Automatic
Bezier option in the effects controls for
motion paths and in the timeline for
effects. Changes in velocity in the motion
path between key frames is now better
followed. There is also
defined.
section,
an
The
annotated
to
bibliography and detailed
technical
Format: Trade PB;
glossary.
effects
make
modifications
user can save
as
presets. The effects now
of the
graphics card processing
technology in order to lessen the CPU
use
burden.
Some familiar Photoshop CS color
now are found in Premiere
Dimensions: 9 1/2x11; Pages: 192; $35.00
controls
www.theasc.com
including Auto Levels, Auto Color, Auto
Highlights.
Contrast and Shadows and
Files in Premiere
can now
be selected to
open automatically in Photoshop CS in
the appropriate resolution and aspect
ratio. When the
editing of the new image
completed, simply close Photoshop,
and the file automatically appears in the
Premiere Pro project.
Premiere Pro offers Panasonic 24p
and 24p advanced. With a certified I/O
card, HD footage can be imported, edited
and delivered in resolutions of 480p, 720p
and 1080i. AAF (advanced authoring
format) and EDL professional formats can
be imported and exported.
is
After Effects 6.5 includes
Animation Presets that enable
new
users to
any combination of layer properties,
including text animation properties, and
easily apply them to other layers. More
save
than 250 text Animation Presets
added to create
tions, and
enable
light
more
users to
rays
were
sophisticated text anima¬
than 60 new effects
visuals, including
create
and 3-D particles.
new Clone tool provides a
overlay of the clone source, and
five user-definable presets make it easy
to rapidly shift between clone settings. To
assist users in matching footage from
The
visual
110
American Cinematographer - December 2004
Table of Contents for the Digital Edition of American Cinematographer - December 2004
American Cinematographer - December 2004 - 1
American Cinematographer - December 2004 - 2
American Cinematographer - December 2004 - 3
American Cinematographer - December 2004 - 4
American Cinematographer - December 2004 - 5
American Cinematographer - December 2004 - 6
American Cinematographer - December 2004 - 7
American Cinematographer - December 2004 - 8
American Cinematographer - December 2004 - 9
American Cinematographer - December 2004 - 10
American Cinematographer - December 2004 - 11
American Cinematographer - December 2004 - 12
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American Cinematographer - December 2004 - 17
American Cinematographer - December 2004 - 18
American Cinematographer - December 2004 - 19
American Cinematographer - December 2004 - 20
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American Cinematographer - December 2004 - 27
American Cinematographer - December 2004 - 28
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American Cinematographer - December 2004 - 30
American Cinematographer - December 2004 - 31
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American Cinematographer - December 2004 - 34
American Cinematographer - December 2004 - 35
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American Cinematographer - December 2004 - 37
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American Cinematographer - December 2004 - 40
American Cinematographer - December 2004 - 41
American Cinematographer - December 2004 - 42
American Cinematographer - December 2004 - 43
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American Cinematographer - December 2004 - 47
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American Cinematographer - December 2004 - 49
American Cinematographer - December 2004 - 50
American Cinematographer - December 2004 - 51
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American Cinematographer - December 2004 - 53
American Cinematographer - December 2004 - 54
American Cinematographer - December 2004 - 55
American Cinematographer - December 2004 - 56
American Cinematographer - December 2004 - 57
American Cinematographer - December 2004 - 58
American Cinematographer - December 2004 - 59
American Cinematographer - December 2004 - 60
American Cinematographer - December 2004 - 61
American Cinematographer - December 2004 - 62
American Cinematographer - December 2004 - 63
American Cinematographer - December 2004 - 64
American Cinematographer - December 2004 - 65
American Cinematographer - December 2004 - 66
American Cinematographer - December 2004 - 67
American Cinematographer - December 2004 - 68
American Cinematographer - December 2004 - 69
American Cinematographer - December 2004 - 70
American Cinematographer - December 2004 - 71
American Cinematographer - December 2004 - 72
American Cinematographer - December 2004 - 73
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American Cinematographer - December 2004 - 78
American Cinematographer - December 2004 - 79
American Cinematographer - December 2004 - 80
American Cinematographer - December 2004 - 81
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American Cinematographer - December 2004 - 86
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American Cinematographer - December 2004 - 88
American Cinematographer - December 2004 - 89
American Cinematographer - December 2004 - 90
American Cinematographer - December 2004 - 91
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American Cinematographer - December 2004 - 110
American Cinematographer - December 2004 - 111
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American Cinematographer - December 2004 - 113
American Cinematographer - December 2004 - 114
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