Primeros Pasos Con Shotcut
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Avid® EDL Manager User's Guide
Avid® EDL Manager User’s Guide ™ make manage move | media Avid ® Legal Notices Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement. Media Composer Family, including Media Composer, Avid Xpress, Symphony Avid products or portions thereof are protected by one or more of the following United States Patents: 4,970,663; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,584,006; 5,640,601; 5,644,364; 5,654,737; 5,715,018; 5,724,605; 5,726,717; 5,729,673; 5,745,637; 5,752,029; 5,754,851; 5,799,150; 5,812,216; 5,852,435; 5,584,006; 5,905,841; 5,929,836; 5,930,445; 5,946,445; 5,987,501; 6,016,152; 6,018,337; 6,023,531; 6,058,236; 6,061,758; 6,091,778; 6,105,083; 6,118,444; 6,134,607; 6,141,691; 6,198,477; 6,201,531; 6,223,211; 6,249,280; 6,269,195; 6,317,158; 6,317,515; 6,330,369; 6,351,557; 6,353,862; 6,357,047; 6,392,710; 6,404,435; 6,407,775; 6,417,891; 6,426,778; 6,477,271; 6,489,969; 6,512,522; 6,532,043; 6,546,190; 6,552,731; 6,553,142; 6,570,624; 6,571,255; 6,583,824; 6,618,547; 6,636,869; 6,665,450; 6,678,461; 6,687,407; 6,704,445; 6,747,705; 6,763,134; 6,766,063; 6,791,556; 6,810,157; 6,813,622; 6,847,373; 6,871,003; 6,871,161; 6,901,211; 6,907,191; 6,928,187; 6,933,948; 6,961,801; 7,043,058; 7,081,900; 7,103,231; 7,266,241; 7,280,117; RE40,107; D392,269; D396,853; D398,912. -
User Manual 16.3 MB
Welcome to DaVinci Resolve 8 The world’s most powerful color correction now on Linux and Mac! DaVinci color correctors have been the standard in post production since 1984. There are thousands of colorists worldwide who understand the performance, quality and workflow of DaVinci. DaVinci is the name behind more feature films, television commercials, documentaries, television production and music videos than any other grading system. When you’re in a room full of demanding clients with conflicting ideas, colorists know that DaVinci Resolve has the quality, real time performance, creative features, and powerful control panel you need to work fast! DaVinci Resolve is now available for both Mac OS X and the clustered super computer power of Linux! CONTENTS USER MANUAL DaVinci Resolve 8 Chapter 1 Introduction 14 Introducing DaVinci Resolve 15 What’s New in DaVinci Resolve 8 16 Chapter 2 System Setup 22 Media Storage Volumes 23 Video Capture Hardware 24 Control Panel Type 24 Chapter 3 Quick Start Guide 26 Quick Start Project 34 Chapter 4 Control Panels 36 Chapter 5 Getting Started 40 Starting DaVinci Resolve 41 User Login Screen 41 Login To An Existing User 41 Exiting Resolve 41 Creating A New User 42 Deleting An Existing User 42 Changing A User Password 43 Multiple Database Support 43 Selecting the Database 43 Creating a New Database 44 Create a New Database Image 45 Remote Database Server 45 Optimizing a Database 45 Backing up a Database 45 Restoring a Database 45 Chapter 6 Configuration 48 The User List 50 The Configuration List 51 Modifying -
Adobe Premiere Pro CS4 Troubleshooting Legal Notices
Adobe Premiere Pro CS4 Troubleshooting Legal notices Legal notices For legal notices, see http://help.adobe.com/en_US/legalnotices/index.html. A note to our customers Adobe provides this searchable PDF of archived technical support documents as a service to our customers who own and continue to enjoy older, unsupported versions of our software products. The information in these documents is not updated, and will become increasingly less accurate as hardware, browsers, and operating systems continue to evolve. Please be aware that these archived documents reflect historical issues and solutions for products that are no longer supported. Adobe does not warrant that the information in this document is accurate. Last updated 11/13/2015 iii Contents Video clips from GoPro cameras import as audio-only in Adobe Premiere Pro CS4 . .1 Troubleshoot video files | Premiere Pro CS4, CS5, CS5.5, CS6, CC . .1 Troubleshoot digital video capture and playback in Adobe Premiere Pro CS4 on Windows . .6 Supported file formats | Premiere Pro CS4 . 11 Adobe Premiere Pro CS4 crashes when rendering AVC-Intra clips with Crop effect applied . 13 Multiplexed MPEG2-DVD files exported with PCM audio from Adobe Media Encoder import with no audio. 15 Adobe Media Encoder doesn't launch, returns errors . 15 Lens Flare effects created in Premiere Pro CS4 preview and render with artifacts in Premiere Pro CS5 . 16 Getting Started with Adobe Premiere Pro . 16 JRun 4: Manually Configuring External Web Server Connectors . 17 Install additional speech libraries | Premiere Pro CC (8.1) and earlier . 20 Import of spanned XDCAM EX clips through Media Browser hangs Premiere Pro CS4 . -
Erste Schritte Mit Shotcut
ERSTE SCHRITTE MIT SHOTCUT Video-Schnittprogramm für Win, Mac, Linux – basierend auf der Version 19.12.31 Shotcut ist freie Software. Die aktuellste Version findest du unter: www.shotcut.org INHALT 1 Eigenschaften von Shotcut 2 Erste Schritte mit Shotcut 3 Verwendung von Übergängen und Filtern 4 Export für Fortgeschrittene 5 Tastaturkürzel für Shotcut 6 Hinweise Erste Schritte mit Shotcut - Version 1/2020 © Daniel Schär ( sc [email protected] ) 1/19 1 EIGENSCHAFTEN VON SHOTCUT: IMPORT • Unterstützung für unzählige Audio, Video- und Bildformate dank FFmpeg • Direkte Bearbeitung der Videoclips – Kein Import notwendig • Spuren auf der Zeitachse können verschiedene Formate enthalten (Formate und Auflösungen) • Video-Aufnahme via Webcam, Audio via Mikrofon BEARBEITUNG • Mehrspur-Ansicht mit Vorschau für Video und Audio • Einfaches Kürzen, Verlängern, Trennen, Einfügen eines Bereichs eines Clips • Drag-n-drop-Konzept • Framegenaue Wiedergabe • unlimitiertes Undo/Redo • Audio und Video-Scopes (Messinstrumente) • Stereo, Mono und 5.1 Surround • Ein-/Ausblenden (Audio und Video) mit einem Klick • Zahlreiche Audio-und Video Filter integriert • Zahlreiche Video-Überblendungen integriert • Audio- und Video-Filter für einzelne Clips oder gesamte Spuren • Unterstützung für Keyframes bei vielen Filtern • Einfacher Text-3D und HTML • Export in verschiedensten Formaten und Profilen (basierend auf Ffmpeg) • EDL Edit Decision List Export (CMX3600) um das Projekt in einem anderen Programm nachzubearbeiten ANSICHT • Abdockbare Fenster • Verschiedene Farbschema -
Cinelerra-Cv.Web.Pdf
CINELERRA CV Published : 2017-06-21 License : GPLv2+ 1 INTRODUCTION Cinelerra est un logiciel d'édition vidéo libre très performant. Il fut l'un des premiers du monde libre, à très tôt montrer de grandes capacités et à continuer sur cette lancée, pour évoluer à sa façon. Il a la prétention d'être orienté et créé pour des professionnels de la vidéo en général (journalistes, artistes, cinéastes…) mais peut bien sûr être utilisé par tout amateur désirant travailler avec un outil évolué. Fort de ses qualités, sa prise en main peut être un peu longue et sera peut-être trop fastidieuse et peu adaptée à des petits projets personnels ou familiaux pour lesquels des logiciels comme Pitivi ou OpenShot seront plus adaptés. Mais il sera le plus performant pour l'assemblage et la modification de plusieurs vidéos et sons en superposition, et l'un des seuls (avec Blender et Natron) à proposer les fonctionnalités du compositing, des masques et du motion tracking. Si vous utilisez un logiciel plus simple et souhaitez passer à l'étape supérieure, ou si vous maîtrisez un logiciel propriétaire professionnel équivalent, Cinelerra sera votre outil dans le monde des logiciels libres. NAISSANCE DU LOGICIEL Tout comme l'entreprise Heroine Virtual qui en est à l'origine, Cinelerra gravite depuis le début dans les milieux industriels du cinéma et de l'audiovisuel. Heroine Virtual et ses développeurs ont la réputation de fonctionner de façon assez fermée, ce que les développeurs communautaires vivent parfois avec difficulté. Ces premiers conçoivent un logiciel qui correspond à leurs propres besoins. Ils le mettent à disposition de tous, mais ne s’embarrassent pas à l'adapter eux-mêmes pour d'autres utilisateurs. -
Avid EDL Manager User's Guide
Avid® EDL Manager User’s Guide ™ make manage move | media Avid ® Copyright and Disclaimer Product specifications are subject to change without notice and do not represent a commitment on the part of Avid Technology, Inc. The software described in this document is furnished under a license agreement. You can obtain a copy of that license by visiting Avid's Web site at www.avid.com. The terms of that license are also available in the product in the same directory as the software. The software may not be reverse assembled and may be used or copied only in accordance with the terms of the license agreement. It is against the law to copy the software on any medium except as specifically allowed in the license agreement. Avid products or portions thereof are protected by one or more of the following United States Patents: 4,746,994; 4,970,663; 5,045,940; 5,267,351; 5,309,528; 5,355,450; 5,396,594; 5,440,348; 5,452,378; 5,467,288; 5,513,375; 5,528,310; 5,557,423; 5,568,275; 5,577,190; 5,584,006; 5,640,601; 5,644,364; 5,654,737; 5,715,018; 5,724,605; 5,726,717; 5,729,673; 5,745,637; 5,752,029; 5,754,851; 5,799,150; 5,812,216; 5,852,435; 5,905,841; 5,929,836; 5,930,445; 5,946,445; 5,987,501; 6,016,152; 6,018,337; 6,023,531; 6,058,236; 6,061,758; 6,091,778; 6,105,083; 6,118,444; 6,128,001; 6,134,607; 6,137,919; 6,141,691; 6,198,477; 6,201,531; 6,223,211; 6,249,280; 6,269,195; 6,317,158; 6,317,515; 6,330,369; 6,351,557; 6,353,862; 6,357,047; 6,392,710; 6,404,435; 6,407,775; 6,417,891; 6,426,778; 6,477,271; 6,489,969; 6,512,522; 6,532,043; 6,546,190; 6,552,731; 6,553,142; 6,570,624; 6,571,255; 6,583,824; 6,618,547; 6,636,869; 6,665,450; 6,678,461; 6,687,407; 6,704,445; D392,269; D396,853; D398,912. -
Insert Here Your Thesis' Task
Insert here your thesis' task. Czech Technical University in Prague Faculty of Information Technology Department of Software Engineering Bachelor's thesis Adobe Premiere Pro Plugin for NARRA Dmitry Vanyagin Supervisor: Ing. Petr Pulc 6th May 2015 Acknowledgements I would like to thank my supervisor Ing. Petr Pulc for his help, support and guidance and Michal Mocˇn´akfor providing of a working instance of NARRA. Declaration I hereby declare that the presented thesis is my own work and that I have cited all sources of information in accordance with the Guideline for adhering to ethical principles when elaborating an academic final thesis. I acknowledge that my thesis is subject to the rights and obligations stip- ulated by the Act No. 121/2000 Coll., the Copyright Act, as amended, in particular that the Czech Technical University in Prague has the right to con- clude a license agreement on the utilization of this thesis as school work under the provisions of Article 60(1) of the Act. In Prague on 6th May 2015 . Czech Technical University in Prague Faculty of Information Technology c 2015 Dmitry Vanyagin. All rights reserved. This thesis is school work as defined by Copyright Act of the Czech Republic. It has been submitted at Czech Technical University in Prague, Faculty of Information Technology. The thesis is protected by the Copyright Act and its usage without author's permission is prohibited (with exceptions defined by the Copyright Act). Citation of this thesis Vanyagin, Dmitry. Adobe Premiere Pro Plugin for NARRA. Bachelor's thesis. Czech Technical University in Prague, Faculty of Information Technology, 2015. -
Operational Manual
OPERATIONAL MANUAL SADiE v5.2 DSD Operational Manual Contents INTRODUCTION..........................................................................................................I MOVING AROUND THE HELP FILE....................................................................................................................... II LICENCE AGREEMENT .............................................................................................................................................. III 1 - GETTING STARTED ...........................................................................................1:1 DIGITAL AUDIO EDITING...................................................................................................................................... 1:1 SADIE SYSTEMS........................................................................................................................................................... 1:1 SADIE BASICS .............................................................................................................................................................. 1:1 TUTORIALS.................................................................................................................................................................. 1:5 2 - DSD MODE ...........................................................................................................2:1 DSD VS PCM ............................................................................................................................................................... -
Avid Filmscribe User's Guide
Avid® FilmScribe™ User’s Guide Release 10.0 a tools for storytellers® © 2000 Avid Technology, Inc. All rights reserved. Printed in USA. Avid FilmScribe User’s Guide • Part 0130-04526-01 Rev. A • August 2000 2 Contents Chapter 1 Understanding Film Lists Film List Concepts . 9 Cut Lists Versus Change Lists . 10 Frame Reference Numbers . 11 About Optional Lists . 12 Assemble Lists. 13 A-Roll Versus A/B-Roll Conforming . 14 Scene Assemble Lists . 15 Optical Lists . 16 Dupe Lists. 18 Pull Lists . 20 Change Pull Lists and Change Discard Lists. 20 Scene Pull Lists . 21 Optical Scene Pull Lists . 22 Using Icons in Lists to Represent Edits . 23 Chapter 2 Working with FilmScribe FilmScribe Workflow. 26 Starting and Quitting FilmScribe . 26 Understanding the FilmScribe Interface . 27 Menu Bar. 27 Menus That Always Appear . 28 Menus That Appear for Specific Types of Windows . 28 Window Types . 29 Using Help. 31 3 Working with Bins . 31 Opening and Closing Bins . 31 Understanding the Bin Window . 32 Sorting Items in Bins . 33 Working with the Cut List and Change List Tools. 34 Opening and Closing the Tools . 34 Understanding the Cut List and Change List Tools . 35 Getting Sequences . 37 Dragging Sequences from Bins. 37 Using the Sequence Menu . 38 Clearing Sequences. 39 Selecting Tracks . 40 Renaming the List . 40 Selecting Options . 41 Copying Options Between List Types. 43 Changing the Options . 43 Using Settings to Save, Recall, and Remove Options . 43 Previewing the List . 46 Working in the List Window . 46 Opening a List Window. 47 Understanding the List Window Status Bar . -
In the Blink of an Eye
IN THE BLINK OF AN EYE All rights reserved. No part of this book may be used or reproduced in any manner whatsoever without written permission from the publisher, except in the case of brief quotations embodied in critical articles and reviews. First Edition 10 9 8 7 6 5 4 Permission was graciously extended by the respective publishers for the use of material from the following works: The Magic Lantern by Ingmar Bergman, p. 35. © 1988 Viking Press, New York, NY, 10010. Translation by Joan Tate. Originally published as Lanterna Magica in 1987 by Norstedts Forlag, Sweden. Reproduced by permission of Hamish Hamilton Ltd., London. Language in Four Dimensions by William Stokoe. New York Academy of Sciences, 1979. Christian Science Monitor, interview with John Huston by staff writer Louise Sweeney, August 11, 1973. Photos from the film The Unbearable Lightness of Being used with permission of the Saul Zaentz Co. All rights reserved. © 1988 Library of Congress Cataloging-in-Publication Data Murch, Walter, 1943-In the blink of an eye / by Walter Murch—2nd ed. p. cm. 1. Motion pictures—Editing. I. Title. TR899.M87 2001 778.5'35-dc21 2001042949 ISBN: 1-879505-62-2 Cover design by Heidi Frieder Cover photographs by Michael D. Brown Printed and bound in the United States of America Silman-James Press 1181 Angelo Drive Beverly Hills, CA 90210 This is a revised transcription of a lecture on film editing given by Walter Murch in the mixing theater at Spectrum Films, Sydney, Australia, in October 1988. It was one in a series of lectures sponsored by the Australian Film Commission. -
Postconform User's Guide
PostConform User’s Guide Version 2.0 Digidesign Inc. 3401-A Hillview Avenue Palo Alto, CA 94304 USA tel: 650·842·7900 fax: 650·842·7999 Technical Support (USA) 650·842·6699 650·856·4275 Product Information (USA) 650·842·6602 800·333·2137 Fax on Demand (USA) 1-888-USE-DIGI (873-3444) World Wide Web www.digidesign.com Digidesign FTP Site ftp.digidesign.com Copyright This User’s Guide is copyrighted ©2000 by Digidesign, a division of Avid Technology, Inc. (hereafter “Digidesign”), with all rights reserved. Under copyright laws, this manual may not be duplicated in whole or in part without the written consent of Digidesign. DIGIDESIGN, AVID and PRO TOOLS are trademarks or registered trademarks of Digidesign and/or Avid Technology, Inc. All other trademarks are the property of their respective owners. All features and specifications subject to change without notice. PN 932107893-00 REV A 5/00 contents Chapter 1. Introduction to PostConform . 1 About PostConform . 1 System Requirements . 1 PostConform Functions . 2 Chapter 2. PostConform Installation and Setup. 3 Installing PostConform Software. 3 Installing OMS . 4 Configuring OMS . 5 Hardware Connections for Sync and Machine Control . 6 PostConform and Virtual Memory . 6 PostConform Quick Start . 6 Configuring PostConform . 7 Chapter 3. Basic PostConform Concepts. 9 Features and Uses of PostConform . 9 EDLs in Video, Film, and Multimedia Editing Systems . 12 How to Read a Typical EDL . 16 Machine Control Basics . 22 Chapter 4. Using PostConform . 25 A Typical PostConform Session. 25 Guided Tour of PostConform . 25 Using PostConform . 33 Spotting Manually from PostConform to Pro Tools . -
Import and Conform Projects Chapter 38 Preparing Timelines for Davinci Resolve Import
PART 5 Import and Conform Projects Chapter 38 Preparing Timelines for DaVinci Resolve Import Generally speaking, “conforming” a project describes the process of importing a project exchange file from another post-production application, and automatically relinking each clip in the imported timeline to the high-quality media files each clip corresponds to. If you need to continue editing, color correct, or finish a project that was put together in another application, you can import via the EDL, AAF, or XML project exchange formats. When you go through the process of conforming a project, you use the imported project data to arrange the clips in the Media Pool into a timeline that constitutes the program that’s about to be graded. This chapter walks you through the process of preparing timelines in other applications prior to moving them into DaVinci Resolve and covers which effects have counterparts in the DaVinci Resolve timeline. It ends with instructions on how to set up to compare a reference movie to the Timeline. Chapter – 38 Preparing Timelines for DaVinci Resolve Import 705 Contents Preparing to Move Your Project to DaVinci Resolve 707 Move Clips to the Lowest Video Track 707 Organize Unsupported Media Files 707 Creating an Offline Reference Movie 707 Mixed Frame Sizes and Mixed Codecs 708 Mixed Frame Rates 708 Importing Effects when Conforming Edits 709 About Supported Color Corrections 710 About Supported Transitions 711 Transition Names 711 About Supported Opacity, Position, Scale, and Rotation Settings 712 About Flip and Flop