LEARN Adobe Premiere Pro CC for Video Communication SECOND EDITION
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Digital Literacy App Sheet
Digital Literacy with Adobe Creative Cloud Seamlessly integrate Creative Cloud into any course or assignment and champion digital literacy for your students. Mobile Desktop Apps Apps Create: Graphic, image, photo, poster, meme, social media post, infographic, data visualization Social media graphic design software that lets you add text, apply filters, resize, crop, and rotate photos. Adobe Spark Post Easily create flyers, posters, memes, and more. • • Adobe Photoshop Lightroom Edit, organize, and share images anywhere, anytime, and on any device. • • Adobe Photoshop Edit and composite images, use 3D tools, edit video, and perform advanced image analysis. • • Adobe Photoshop Fix and Mix Retouch and composite images on your mobile device. • Adobe Illustrator Create vector-based graphics/illustrations for print, web, video, and mobile. • Adobe Illustrator Draw Create beautiful free-form vector designs on your mobile device. • Adobe InDesign Design professional layouts for print and digital publishing. • Paint and draw with the world’s largest collection of brushes in a natural experience on the latest stylus Adobe Fresco* and touch devices. • Create: Pamphlet, report, magazine, collection, book, research paper (APA and MLA), traditional resume Online web page builder. No coding or design skills needed. Create your own beautiful web story using Adobe Spark Page videos, pictures, and text. • • Adobe InDesign Design professional layouts for print and digital publishing. • Adobe Photoshop Edit and composite images, use 3D tools, edit video, and perform advanced image analysis. • • Adobe Illustrator Create vector-based graphics/illustrations for print, web, video, and mobile. • Adobe Acrobat Pro Create, protect, sign, collaborate on, and print PDF documents. • Create: User experiences (UX), augmented reality (AR), and 3D Adobe XD Design and prototype user experiences for websites, mobile apps, and more. -
Adobe Trademark Database for General Distribution
Adobe Trademark List for General Distribution As of May 17, 2021 Please refer to the Permissions and trademark guidelines on our company web site and to the publication Adobe Trademark Guidelines for third parties who license, use or refer to Adobe trademarks for specific information on proper trademark usage. Along with this database (and future updates), they are available from our company web site at: https://www.adobe.com/legal/permissions/trademarks.html Unless you are licensed by Adobe under a specific licensing program agreement or equivalent authorization, use of Adobe logos, such as the Adobe corporate logo or an Adobe product logo, is not allowed. You may qualify for use of certain logos under the programs offered through Partnering with Adobe. Please contact your Adobe representative for applicable guidelines, or learn more about logo usage on our website: https://www.adobe.com/legal/permissions.html Referring to Adobe products Use the full name of the product at its first and most prominent mention (for example, “Adobe Photoshop” in first reference, not “Photoshop”). See the “Preferred use” column below to see how each product should be referenced. Unless specifically noted, abbreviations and acronyms should not be used to refer to Adobe products or trademarks. Attribution statements Marking trademarks with ® or TM symbols is not required, but please include an attribution statement, which may appear in small, but still legible, print, when using any Adobe trademarks in any published materials—typically with other legal lines such as a copyright notice at the end of a document, on the copyright page of a book or manual, or on the legal information page of a website. -
TFM 327 / 627 Syllabus V2.0
TFM 327 / 627 Syllabus v2.0 TFM 327 - FILM AND VIDEO EDITING / AUDIO PRODUCTION Instructor: Greg Penetrante OFFICE HOURS: By appointment – I’m almost always around in the evenings. E-MAIL: [email protected] (recommended) or www.facebook.com/gregpen PHONE : (619) 985-7715 TEXT: Modern Post Workflows and Techniques – Scott Arundale & Tashi Trieu – Focal Press Highly Recommended but Not Required: The Film Editing Room Handbook, Hollyn, Norman, Peachpit Press COURSE PREREQUISITES: TFM 314 or similar COURSE OBJECTIVES: You will study classical examples of editing techniques by means of video clips as well as selected readings and active lab assignments. You will also will be able to describe and demonstrate modern post-production practices which consist of the Digital Loader/Digital Imaging Technician (DIT), data management and digital dailies. You will comprehend, analyze and apply advanced practices in offline editing, online/conforming and color grading. You will be able to demonstrate proficiency in using non-linear editing software by editing individually assigned commercials, short narrative scenes and skill-based exercises. You will identify and analyze past, present and future trends in post-production. Students will also learn how to identify historically significant figures and their techniques as related to defining techniques and trends in post-production practices of television and film and distill your accumulated knowledge of post-production techniques by assembling a final master project. COURSE DESCRIPTION: Film editing evolved from the process of physically cutting and taping together pieces of film, using a viewer such as a Moviola or Steenbeck to look at the results. This course approaches the concept of editing holistically as a process of artistic synthesis rather than strictly as a specialized technical skill. -
Motion-Based Video Synchronization
ActionSnapping: Motion-based Video Synchronization Jean-Charles Bazin and Alexander Sorkine-Hornung Disney Research Abstract. Video synchronization is a fundamental step for many appli- cations in computer vision, ranging from video morphing to motion anal- ysis. We present a novel method for synchronizing action videos where a similar action is performed by different people at different times and different locations with different local speed changes, e.g., as in sports like weightlifting, baseball pitch, or dance. Our approach extends the popular \snapping" tool of video editing software and allows users to automatically snap action videos together in a timeline based on their content. Since the action can take place at different locations, exist- ing appearance-based methods are not appropriate. Our approach lever- ages motion information, and computes a nonlinear synchronization of the input videos to establish frame-to-frame temporal correspondences. We demonstrate our approach can be applied for video synchronization, video annotation, and action snapshots. Our approach has been success- fully evaluated with ground truth data and a user study. 1 Introduction Video synchronization aims to temporally align a set of input videos. It is at the core of a wide range of applications such as 3D reconstruction from multi- ple cameras [20], video morphing [27], facial performance manipulation [6, 10], and spatial compositing [44]. When several cameras are simultaneously used to acquire multiple viewpoint shots of a scene, synchronization can be trivially achieved using timecode information or camera triggers. However this approach is usually only available in professional settings. Alternatively, videos can be synchronized by computing a (fixed) time offset from the recorded audio sig- nals [20]. -
Virtual Video Editing in Interactive Multimedia Applications
SPECIAL SECTION Edward A. Fox Guest Editor Virtual Video Editing in Interactive Multimedia Applications Drawing examples from four interrelated sets of multimedia tools and applications under development at MIT, the authors examine the role of digitized video in the areas of entertainment, learning, research, and communication. Wendy E. Mackay and Glorianna Davenport Early experiments in interactive video included surro- video data format might affect these kinds of informa- gate travel, trainin);, electronic books, point-of-purchase tion environments in the future. sales, and arcade g;tme scenarios. Granularity, inter- ruptability, and lixrited look ahead were quickly identi- ANALOG VIDEO EDITING fied as generic attributes of the medium [l]. Most early One of the most salient aspects of interactive video applications restric:ed the user’s interaction with the applications is the ability of the programmer or the video to traveling along paths predetermined by the viewer to reconfigure [lo] video playback, preferably author of the program. Recent work has favored a more in real time. The user must be able to order video constructivist approach, increasing the level of interac- sequences and the system must be able to remember tivity ‘by allowing L.sers to build, annotate, and modify and display them, even if they are not physically adja- their own environnlents. cent to each other. It is useful to briefly review the Tod.ay’s multitasl:ing workstations can digitize and process of traditional analog video editing in order to display video in reel-time in one or more windows on understand both its influence on computer-based video the screen. -
Psa Production Guide How to Create A
PSA PRODUCTION GUIDE HOW TO CREATE A PSA HOW TO CREATE A STORY BOARD FREE VIDEO EDITING SOFTWARE HOW TO CREATE A PSA 1. Choose your topic. Pick a subject that is important to you, as well as one you can visualize. Keep your focus narrow and to the point. More than one idea confuses your audience, so have one main idea per PSA. 2. Time for some research - you need to know your stuff! Try to get the most current and up to date facts on your topic. Statistics and references can add to a PSA. You want to be convincing and accurate. 3. Consider your audience. Consider your target audience's needs, preferences, as well as the things that might turn them off. They are the ones you want to rally to action. The action suggested by the PSA can be spelled out or implied in your PSA, just make sure that message is clear. 4. Grab your audience's attention. You might use visual effects, an emotional response, humor, or surprise to catch your target audience. 5. Create a script and keep your script to a few simple statements. A 30-second PSA will typically require about 5 to 7 concise assertions. Highlight the major and minor points that you want to make. Be sure the information presented in the PSA is based on up-to-date, accurate research, findings and/or data. 6. Storyboard your script. 7. Film your footage and edit your PSA. 8. Find your audience and get their reaction. How do they respond and is it in the way you expected? Your goal is to call your audience to action. -
Avid Film Composer and Universal Offline Editing Getting Started Guide
Avid® Film Composer® and Universal Offline Editing Getting Started Guide Release 10.0 a tools for storytellers® © 2000 Avid Technology, Inc. All rights reserved. Film Composer and Universal Offline Editing Getting Started Guide • Part 0130-04529-01 • Rev. A • August 2000 2 Contents Chapter 1 About Film Composer and Media Composer Film Composer Overview. 8 About 24p Media . 9 About 25p Media . 10 Editing Basics . 10 About Nonlinear Editing. 10 Editing Components. 11 From Flatbed to Desktop: Getting Oriented. 12 Project Workflow . 13 Starting a Project . 14 Editing a Sequence . 15 Generating Output . 16 Chapter 2 Introduction Using the Tutorial. 17 What You Need . 19 Turning On Your Equipment . 19 Installing the Tutorial Files . 20 How to Proceed. 21 Using Help. 22 Setting Up Your Browser . 22 Opening and Closing the Help System . 22 Getting Help for Windows and Dialog Boxes. 23 Getting Help for Screen Objects . 23 Keeping Help Available (Windows Only) . 24 3 Finding Information Within the Help . 25 Using the Contents List . 25 Using the Index . 25 Using the Search Feature . 26 Accessing Information from the Help Menu. 27 Using Online Documentation . 29 Chapter 3 Starting a Project Starting the Application (Windows). 31 Starting the Application (Macintosh). 32 Creating a New User . 33 Selecting a Project . 33 Viewing Clips . 34 Using Text View. 35 Using Frame View. 36 Using Script View . 37 Chapter 4 Playing Clips Opening a Clip in the Source Monitor. 39 Displaying Tracking Information . 40 Controlling Playback. 44 Using the Position Bar and Position Indicator . 45 Controlling Playback with Playback Control Buttons . 46 Controlling Playback with Playback Control Keys . -
10 Best Free Video Editing Software Review and Download
Copy Right www.imelfin.com 10 best free video editing software review and download What are the best free video editing software? In this post, you are bound to find the best video editing freeware to your taste. When we want to create a personal video, burn a DVD, or upload to YouTube/other video-sharing sites, we will need free video editing software to crop, edit subtitles, insert audio, and add other effects. So what is the best free video editing software? What is the easiest video editing software to use? This post covers a list of the best video editing software, you will be able to edit your videos free on Windows, Mac or Linux. 10 best free video editing software review and download 1. ezvid free video editing software 1 Copy Right www.imelfin.com ezvid is open-source video editing software applicable to Windows XP (SP3), Vista, Win 7/8. It is fast, easy-to-use and functional. Besides video editing, it can also be used as a voice recorder and screen recorder. As with video editing, ezvid enables you to resize, add text/images. Powerful functions along with the revolutionary screen drawing feature have made ezvid one of the best video editing freeware. ezvid video editing software free download 2. Windows Movie Maker 2 Copy Right www.imelfin.com Windows Movie Maker offers a simple solution to beginners to create or edit videos. You can drag and drop images, videos as well as the real-time screenshots/videos to the timeline and add titles, credits, video/transition effects as you like. -
SENSAREA, a General Public Video Editing Application Pascal Bertolino
SENSAREA, a general public video editing application Pascal Bertolino To cite this version: Pascal Bertolino. SENSAREA, a general public video editing application. ICIP 2014 - 21st IEEE International Conference on Image Processing, IEEE, Oct 2014, Paris, France. hal-01080565 HAL Id: hal-01080565 https://hal.archives-ouvertes.fr/hal-01080565 Submitted on 7 Oct 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. SENSAREA, A GENERAL PUBLIC VIDEO EDITING APPLICATION Pascal Bertolino GIPSA-lab, Grenoble Alpes University ABSTRACT In [9], we proposed a first version of Sensarea that was dedi- cated to accurate video object tracking only. The version that we In this demonstration, we present an advanced prototype of a novel present here (figure 1) is functionally and technically enriched with general public software application that provides the user with a set particularly (1) the possibility to apply effects to the tracked objects, of interactive tools to select and accurately track multiple objects in (2) a novel video object tracking algorithm and (3) a key frame based a video. The originality of the proposed software is that it doesn’t morphing. With this new release, we want to gather both the power impose a rigid modus operandi and that automatic and manual tools of several tracking algorithms and the necessary set of tools to pos- can be used at any moment for any object. -
Studio Descriptions Booklet | Sem 2 2015
Media Studios semester 2 2015 Character Catherine Gough-Brady Tues. 12.30-2.30 (Rm 9.3.9) Thur. 9.30-12.30 (Rm 9.2.15) Reggio & Fricke, Unnamed Billboard 1 ‘Character is plot, plot is character’ What is the "" Attributed to F. Scott Fitzgerald significance of character within/for narrative? description The character is one of the most important tools in your box, whether you are creating fiction or creating documentary. Through character the viewer can find out about theme, plot, abstract ideas, human nature, time and place - basically everything. Each week in this studio you will be expected to have read/watched/ listened to classic works. In class, we dissect the characters of the works and create short exercises to test out your ideas. You will be creating short works that explore or push the boundaries of theories on character. Throughout the studio you will be keenly aware that creating media is about connecting with audience. So you will be thinking about the viewer as you create. Your fellow students will be your initial ‘viewers’ and will provide feedback, so you can see how certain devices work, or don’t. In the final weeks you will create your main work, which can be fiction or documentary, or a combination of them. In can be video or audio. This work will be included in the end of year exhibition. Areas we will explore practically and theoretically in this studio include: the hero’s journey/ using first person / dialogue and speeches / ironic relationship to character / retelling and flashback / blending the real with fiction / verbatim / ensemble characters / the antagonist / non-human characters aims • to read/watch/listen to works, focusing on the characters • to explore aspects of character within the narrative, in fiction and non-fiction • to experiment, by creating characters Pen, paper, a smart phone and a laptop will be vital. -
Adobe Creative Cloud 2018 - All Apps Built to Accelerate Your Business
Adobe Creative Cloud 2018 - All Apps Built to accelerate your business. Step up from Adobe Creative Suite to the 2018 release of Creative Cloud and drive powerful business results across your team or enterprise. Get the world’s best creative apps and everything else your business needs to efficiently create amazing content and collaborate freely across desktop and mobile. Creative Desktop Apps What it does? Creative Mobile apps What it does? Adobe Photoshop Image editing and compositing Creative Cloud for iOS Mobile access to your Creative Cloud account Adobe Illustrator Vector graphics and illustration for print, web, Hundreds of free video tutorials for every experience video, and mobile Creative Cloud Tutorials level Page design and layout for print and digital Adobe InDesign publishing Adobe Capture Create inspiring colours, shapes, brushes and more Create, protect, collaborate, and print PDF Adobe Acrobat Pro DC documents Adobe Illustrator Draw Vector drawing anywhere Adobe Bridge Centralize and organize your creative assets Cut out, combine and create amazing images, Adobe Photoshop Mix anywhere. Adobe Dreamweaver Design and develop modern, responsive websites Adobe Photoshop Fix Photoshop retouching for everyone, anywhere Interactive animations for multiple platforms Adobe Animate (formerly Flash Professional) Adobe Photoshop Sketch Expressive drawing Adobe Muse Design and publish websites without writing code Adobe Lightroom Mobile Capture, edit and organize images anywhere Rapidly and iteratively design, prototype, and Adobe -
Video Production Putting Theory Into Practice
Video Production Putting Theory into Practice Steve Dawkins (Coventry University) Ian Wynd (North Warwickshire and Hinckley College) Contents Introduction Section One: Theory and Practice 1. Knowing: The Theory of Video Production 2. Doing: Preparing for Video Production 3. The Practice of Video Production: Pre-Production 4. The Practice of Video Production: Production 5. The Practice of Video Production: Post-Production Section Two: The Briefs 6. The Television Title Sequence 7. The Magazine Programme 8. The Documentary 9. The Drama Short Introduction People working within the creative media industries often mystify the process of video production. There is a well-known saying that video production isn’t as easy as it looks but isn’t as difficult as it is made out to be. While it is true that professional working practices are the result of much training, our starting point is that we believe that anyone has the potential to produce excellent videos. However, what marks out good or exceptional video production, whether professional or non-professional, is two things: the ability of the video- maker to understand and effectively work through the different stages of production systematically and their ability to think about what they’re actually doing at each of those stages and act upon those thoughts. Video Production: Putting Theory into Practice is a book for students who are new to video production in further and higher education. It is a book that links the types of theory that are applicable to video production that you will encounter on a range of different communications, cultural or media courses with the practical skills of video making.