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Final Cut Pro HD Das Praxishandbuch Für Den Videoschnitt Für Maria (1936 – 2004) Inhalt

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Final Cut Pro HD Das Praxishandbuch Für Den Videoschnitt Für Maria (1936 – 2004) Inhalt Andreas Zerr Björn Adamski Final Cut Pro HD Das Praxishandbuch für den Videoschnitt Für Maria (1936 – 2004) Inhalt 10 Vorwort 14 Erste Schnitte 468 Index 14 Die Benutzeroberfl äche 15 Material qualifi zieren 19 Vom Aufbau 22 Von In bis Out 23 Ab in die Timeline 28 Noch mehr Schnitte 28 Joggen, Shuttlen, Scrubben 30 Schnittpunkte verschieben 33 Arbeiten mit Timecodes 38 Noch mehr Kontrolle: Navigation 40 Einfügen von Clips 41 Fenster öffne dich! 48 Mehrere Schnitte 53 Vorschneiden und sortieren 54 Gemeinsam in die Timeline 57 Noch mehr Optionen 58 Mehr Spuren 6 Inhalt 64 Konfi guration und Installation 158 Feinschnitt 64 Haben Sie Format? 158 Trimm dich! 66 Wozu Hardware? 158 Arbeiten mit Schnittpunkten 77 Formate 163 Arbeiten mit Schnittmarken 87 Videohardware 169 Trimmen 89 Installation 176 Match Framing 178 Marker 92 Erweiterte Techniken 186 Übergänge 92 Getrennt markieren 98 In der Timeline 186 Was ist ein Übergang? 106 Drei-Punkte-Schnitt 187 Anwenden von Übergängen 114 Mut zur Lücke 189 Bearbeiten von Übergängen 194 Kopieren und speichern 120 Voreinstellungen 197 Audioübergänge 199 Gestalten mit Blenden 120 Reine Einstellungssache 122 Menü Benutzereinstellungen 133 Einstellungen Benutzer-Interface 136 Menü Systemeinstellungen 141 Menü Audio/Video- Voreinstellungen InhaltInhalt 7 ̈ 202 Aufnahme und Import 276 Compositing 202 Aufnahmemöglichkeiten 276 Clip-Geschwindigkeiten 202 Aufnahmebedingungen 281 Bewegung 209 Direktaufnahme 286 Beschneiden und Verzerren 213 Loggen und Aufnehmen 290 Deckkraft und Schatten 228 Loggen und Markieren 292 Arbeiten mit Keyframes 230 DV-Start/Stopp-Erkennung 300 Noch mehr Bézier-Kurven 232 Importfunktionen 305 Generatoren 309 Frames, Photoshop und Alpha 244 Audiobearbeitung 317 Composite-Modi 322 Comps für Fortgeschrittene 244 Formate und Import 247 Audioschnitt 328 Rendering 258 Audiobearbeitung 271 Voice Over 328 Alles Gold, was glänzt? 275 Audiofi lter 332 Renderqualitäten 334 Echt- und Renderzeiten 339 Was alles schiefgehen kann 340 Tipps und Tricks ̇ 8 Inhalt 342 Filter und Korrekturen 410 Titel und Texte 342 Grundsätzliches 410 Generelles 347 Korrekturfi lter 411 Einfacher Titel 370 Effektfi lter 418 Animierter Titel 384 Audiofi lter 418 Untertitel und Bauchbinde 422 Abspann 388 Projektorganisation 423 Komplexe Titel (Calligraphy) 388 Vom Trailer zum Spielfi lm 428 Ausgabe 388 Hilfsmittel Browser 393 Offl ine vs. Online 428 Auf Band 397 Medien verbinden 437 Export als Datei 401 Media Manager 439 Compressor verwenden 407 Tipps 457 QuickTime-Konvertierung 467 Finale InhaltInhalt 9 Vorwort Allerorts hört man heute nur Gejammere über hochprofessionelle Ergebnisse erzielt, was vor die schlechten, man möchte fast sagen, hartzi- ein paar Jahren noch (fast) unvorstellbar war. gen Zeiten. Allerorts? Nein. In einem kleinen, Wir, das Autorenteam, haben vor einigen gallischen Außenposten hoch über der Ham- Jahren, genauer gesagt im Jahre 1999, viel- burger Reeperbahn und einem alten Wasser- leicht aus Zufall, vielleicht auch durch ein biss- turm im Rhein-Main-Gebiet hüpfen und chen Weitsicht und Vertrauen, auf das richtige springen und tanzen ein paar unerschrockene Pferd gesetzt und uns schon damals einge- Video-Guerillas und freuen sich, dass die Zei- hend mit Final Cut Pro in der Urversion aus- ten eigentlich nie besser waren. Zumindest einander gesetzt, während alle Welt noch nicht für uns freiberufl iche Frame-Sortierer nach AVID, *edit und Media 100 schrie. Allen und Pixel-Schubser. Unkenrufen zum Trotz, und Dank einer steten Die Videobearbeitung hat in den letzten Weiterentwicklung der Soft- und Hardware vier, fünf Jahren einen gewaltigen Sprung ge- seitens Apple und anderen Herstellern, haben macht. Man möchte fast von einem Paradig- wir heute den Beweis für das, was man uns menwechsel sprechen, so einschneidend sind vor fünf Jahren noch nicht recht glauben die Veränderungen in der Postproduktion ge- wollte: Final Cut Pro ist professionell, Final worden. Musste man selbst Ende der Neunzi- Cut Pro kann (fast) alles, was man von einer ger noch sein Zweifamilienhaus verpfänden, guten Videosoftware erwartet, und Final Cut um eine gebrauchsfertige Videolösung in Pro ist die Killer-Applikation auf dem Video- Sende- oder Kinoqualität zu erschwingen, rei- markt, die momentan im Verhältnis von Preis chen heutzutage ein paar tausend Euro für und Leistung ungeschlagen ist. AVID hingegen eine Komplettausstattung inklusive Rechner, ist stark in der Defensive, Media 100 mitter- Video-Board, RAID-System und Referenzmo- weile verkauft und *edit eingestellt worden. nitor; vielleicht ein paar tausend Euro mehr Und weil wir damals wie heute an Final Cut für die unkomprimierte Kinoqualität dazu. Pro geglaubt haben, weil wir uns seit fünf Jah- Wer sich nur auf DV beschränkt, braucht ren tagein, tagaus (und auch nicht selten neben Kamera und Mac eigentlich gar keine nächtelang) mit der Software beschäftigen Anschaffung mehr zu tätigen. Videobearbei- und weil es selbst heute noch weit weniger tung ist zum digitalen Mainstream geworden, gute und erfahrene Final Cut Pro Editoren als genauso wie das Tippen von E-Mails, das Mu- AVID-Cutter gibt, sind unsere Auftragsbücher sikhören via MP3-Spielzeug oder die Bildbear- gefüllt, und waren auch die Zeiten nie besser, beitung und Verwaltung mit iPhoto und Kon- um interessante, neue Jobs zu ergattern. sorten. Allerdings mit dem feinen Unterschied, Was wir uns in den letzten fünf Jahren erar- dass man bei der Videobearbeitung am Mac beitet haben, sollen Sie, verehrter Leser, heute mittels Final Cut Pro sowie ein bisschen zu- lernen. Wir haben uns alle erdenkliche Mühe sätzlicher Hard- und Software mittlerweile gegeben, das Wissen zu vermitteln, das es 10 Vorwort Ihnen erlaubt, sowohl im privaten als auch im hat, bitten wir zu entschuldigen, dass wir ei- professionellen Umfeld mit der Soft- und Hard- nige Textpassagen aus dem alten Buch über- ware umzugehen und Ihre Produktionen zeit- nommen haben – besser hätten wir sie heut- nah, erfolgreich und ohne Schweißperlen auf zutage auch nicht schreiben können; und der Stirn abschließen zu können. Wir möchten selbst wenn, hätte es noch länger mit diesem Sie mittels dieses Buches zum geschickten Buch gedauert. Final Cut Pro Operator ausbilden. Wie Sie ein guter Schnittmeister und/oder Produzent werden, lernen Sie auf diesen Sei- Dank ten jedoch nicht; dafür reicht der Umfang des Buches nicht aus, und es wäre auch vermessen Was lange währt, wird endlich gut. All den von uns zu behaupten, wir hätten das Zeug Leuten, die uns auf diesem langen, steinigen dazu. Wie Sie einen Achsensprung erkennen, Weg begleitet haben, möchten wir hiermit einen Horizontsprung vermeiden oder gar von ganzem Herzen danken. einen ganzen Film mittels Eisenstein’scher Allen voran natürlich wiedermal unserer Montagetechniken gestalten, sollten Sie bes- engelsgeduldigen Lieblingslieblingslektorin ser an anderer Stelle oder mittels geeigneter Ruth Wasserscheid, dicht gefolgt vom nim- Literatur in Erfahrung bringen. Wir haben mermüden Ralf Kaulisch und unserem Endbe- unser selbst gestecktes Ziel erreicht, wenn Sie arbeitungslektor Thorsten Mücke sowie Iris am Ende dieser Lektüre von sich behaupten Warkus und dem gesamten Galileo Press Ver- können, Final Cut Pro zu verstehen und zu be- lag. Des Weiteren gilt unser spezieller Dank herrschen. Uli Westerhausen (surfmovie.de) für das im Die Entstehungsgeschichte dieses Buches wahrsten Sinne des Wortes spritzige Footage. ist lang und steinig und währte knapp einein- Ein dickes Dankeschön geht an all die fl eis- halb Jahre lang. Einer mehr oder minder sigen Hände und Köpfe, die uns mit Rat und glücklichen Fügung (danke Dir, Aram, mal Tat sowie mit Soft- und Hardware unterstützt wieder auf einen Single Malt?) ist es zu ver- haben: allen voran natürlich unser bienenfl ei- danken, dass sich dem Team ein begabter und ßiger Webmaster Chris Hoppe, »Brennender fl eißiger Co-Autor angeschlossen hat und die Busch« Andreas Kiel, Ali Samadi-Ahadi (mit Kohlen sprichwörtlich aus dem Feuer holte – dickem Kuss an Caroline und Roxanna), Uli ansonsten wäre dieses Buch wohl niemals fer- und Ralf Happel, Walter Roux, Mario Reichelt, tig geworden. Wir möchten uns bei allen Le- Klaus Preuschhof und Johannes Borm von sern entschuldigen, die tatsächlich schon seit Comline, Guido Bröhl (Tascam Deutschland), einem Jahr oder länger auf dieses Buch gewar- Christian Lange von Klemm Music, Jan Bonath tet haben, und hoffen natürlich inständig, dass von Clayart/scopas medien AG, David Fabra, sich das Warten gelohnt hat. Wer bereits Vor- Prof. Uli Planck, Frank Vogelskamp, Christoph versionen dieses Buches gelesen hat, wird Vonrhein (chv-plugins.com), Michael Hencke feststellen, dass sich textlich einige Parallelen von Comspot, Marc Korthaus von macnews. vorfi nden. Da sich zwischen Version 3 und 4 de (inklusive fetter Umarmung an die Vor- resp. HD schnitttechnisch nur wenig getan wort-Göttin Claudia Runk), Detlev Fichtner Dank 11 (fi lmton.de), von Apple die Damen und Her- ren Stephan Buchmann, Gerald Golisch, Frank Limbacher, Georg Albrecht, Martin Kuderna (100zehn), Reiner Oberbeckmann, Holger Nie- derländer, Helga Schraudner (hast’n Aspirin?) und Uwe Weber sowie den fl eißigen Beitrags- schreibern des Forums fi nalcutpro.de. Ein dicker Kuss geht an Latida und Carmen Girmscheid, Karsten Lienshöft, Wolfgang Zerr, Doris und Lea Stanicic, Gerrit Siegfriedsen (na- türlich mit Angie und upcomming Nach- wuchs), Kai Küver, Ole Peters sowie den Rest des Sehsucht-Teams, und ganz speziell natür- lich an die Rocker von Rebel Media, nament- lich Fee, Sascha, Constantin,
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