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
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American Cinematographer - December 2004 - 7
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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
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American Cinematographer - December 2004 - 76
American Cinematographer - December 2004 - 77
American Cinematographer - December 2004 - 78
American Cinematographer - December 2004 - 79
American Cinematographer - December 2004 - 80
American Cinematographer - December 2004 - 81
American Cinematographer - December 2004 - 82
American Cinematographer - December 2004 - 83
American Cinematographer - December 2004 - 84
American Cinematographer - December 2004 - 85
American Cinematographer - December 2004 - 86
American Cinematographer - December 2004 - 87
American Cinematographer - December 2004 - 88
American Cinematographer - December 2004 - 89
American Cinematographer - December 2004 - 90
American Cinematographer - December 2004 - 91
American Cinematographer - December 2004 - 92
American Cinematographer - December 2004 - 93
American Cinematographer - December 2004 - 94
American Cinematographer - December 2004 - 95
American Cinematographer - December 2004 - 96
American Cinematographer - December 2004 - 97
American Cinematographer - December 2004 - 98
American Cinematographer - December 2004 - 99
American Cinematographer - December 2004 - 100
American Cinematographer - December 2004 - 101
American Cinematographer - December 2004 - 102
American Cinematographer - December 2004 - 103
American Cinematographer - December 2004 - 104
American Cinematographer - December 2004 - 105
American Cinematographer - December 2004 - 106
American Cinematographer - December 2004 - 107
American Cinematographer - December 2004 - 108
American Cinematographer - December 2004 - 109
American Cinematographer - December 2004 - 110
American Cinematographer - December 2004 - 111
American Cinematographer - December 2004 - 112
American Cinematographer - December 2004 - 113
American Cinematographer - December 2004 - 114
American Cinematographer - December 2004 - 115
American Cinematographer - December 2004 - 116
American Cinematographer - December 2004 - 117
American Cinematographer - December 2004 - 118
American Cinematographer - December 2004 - 119
American Cinematographer - December 2004 - 120
American Cinematographer - December 2004 - 121
American Cinematographer - December 2004 - 122
American Cinematographer - December 2004 - 123
American Cinematographer - December 2004 - 124
American Cinematographer - December 2004 - 125
American Cinematographer - December 2004 - 126
American Cinematographer - December 2004 - 127
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