DV Filmmaking
DV Filmmaking From Start to Finish By Ian David Aronson
January 2006
Pages: 310

| Table of Contents | Index | Sample Chapter

Table of Contents

  1. Chapter 1 The Freedom of Digital Video

    1. The Flexibility of Digital Recording Versus the Expense and Constraints of Film

    2. Digital Features: A Brief History of Directors Who Chose Digital Production over Film

  2. Chapter 2 Digital Cinematography

    1. Aspect Ratio

    2. Anamorphic Video

    3. Frame Rate and Video Standards

    4. Video on Your Computer, Pixel Aspect Ratio

    5. Why It All Matters in DVD Production

    6. Swing-out Monitor, Viewfinder, or External NTSC Field Monitor

    7. Working with a Viewfinder: Color Versus Black and White

  3. Chapter 3 Composing a Shot to Fit Your Output Medium

    1. An Overview of Shots—Medium Shot, Wide Shot, Close-up, and Extreme Close-up

    2. Shooting with DVD Compression in Mind

  4. Chapter 4 Lighting for Digital

    1. What White Balance Does, and Why You Can Never Forget to Set It

    2. The Importance of Setting an Aperture

  5. Chapter 5 Shooting for Effects

    1. Preparing a Chroma Key Shoot

    2. Framing Images with Composites in Mind

    3. Planning a Matte Effect

  6. Chapter 6 Working with Specialized Camera Mounts

    1. Stabilizing a Moving Camera

    2. Using a Camera Dolly

  7. Chapter 7 Recording Audio, an Overview

    1. Sync-Sound Field Recording and the Birth of Cinema Verite

    2. The Impact of the Camcorder

    3. Current Recording Options

  8. Chapter 8 Digital Audio Production Techniques and Strategies

    1. Microphone Types

    2. Maintaining Sync

    3. Strategies for Recording Good Digital Audio

  9. Chapter 9 An Overview of Nonlinear Editing

    1. Timelines, Frames, and Tracks—How Nonlinear Editing Benefits the Independent Filmmaker

    2. Making the Most of Nondestructive Editing: The Difference Between Project Files and Media Files

    3. How Timecode Makes Nonlinear Editing Possible

  10. Chapter 10 Setting Up Your Digital Post Facility

    1. Is My Computer Fast Enough?

    2. Capture and Storage Systems

    3. The Importance of a Well-Calibrated NTSC Monitor

  11. Chapter 11 An Overview of Composite Images

    1. What an Alpha Channel Does

    2. Importing Images and Adding Them to the Timeline

    3. Rendering Your Work

    4. Creating Images in Photoshop for Use in Digital Video

  12. Chapter 12 Compositing Techniques to Make Your Project Look Like It Cost More Than It Really Did

    1. Creating the Houston Street Composites

  13. Chapter 13 Artistically Using Still Images

    1. Animating Still Photos to Simulate Camera Movements

  14. Chapter 14 Creating Titles, Static and Animated

    1. Creating Static Titles

    2. Animating a Title in After Effects

    3. Creating Scrolling or Crawling Titles in Final Cut Pro

    4. Adding Still Images to Your Titles

  15. Chapter 15 Bringing Your Title Sequence into Your Project

    1. Building Your Opening Sequence in Final Cut Pro

    2. Building Your Opening Sequence in After Effects

    3. Joining Your Opening Sequence to the Body of Your Film

  16. Chapter 16 Color Correction

    1. How Color Functions in Video, an Overview

    2. Audiences' Subconscious Response to Color, and How You Can Make Use of It

    3. Making Your Video Broadcast Safe

  17. Chapter 17 The Concept of Sound Design

    1. Layering Audio Tracks

    2. Replacing Missing or Poorly Recorded Audio

  18. Chapter 18 Sound Design, from Nuts and Bolts to Fine Tuning

    1. Refining the Natural Sound in Your Sequence

    2. Adding Music to Your Film

  1. Appendix A The Release Print

    1. Creating a Broadcast Master

    2. Striking a Film Print

    3. Outputting Your Audio

    4. Mastering to DVD, and the Benefits of Distributing Your Work in a Digital Format

    5. Streaming Your Work on the Internet

    6. Making Your Voice Heard

  2. Appendix B The Last Step: Negotiating a Sale (and Why You Should Always Bargain Up)

    1. Getting Your Film Seen: How Festival Exposure and Press Coverage Can Get You Noticed

    2. The Option of Self-Distribution and the Story of Mary Jane's Not a Virgin Anymore

    3. D.I.Y. or Die: Taking Your Work on Tour

    4. Don't Sell Yourself Short

    5. Why Good Business Cards Are Important

  3. Colophon

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