![]() No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (+44) 1865 843830, fax: (+44) 1865 853333, e-mail: You may also complete your request online via the Elsevier homepage (), by selecting “Customer Support” and then “Obtaining Permissions.” Recognizing the importance of preserving what has been written, Elsevier prints its books on acid-free paper whenever possible. Library of Congress Cataloging-in-Publication Data Angell, Dale. The filmmaker’s guide to Final cut pro workflow / Dale Angell. Understanding the NTSC Video Format and Digital Video Working together to grow libraries in developing countries | | Contentsģ Initial Audio Workflow, Importing Production Audio, and SyncingĦ Finishing on Digital Video, the Online Editġ0 After the Film Is Finished: Distribution ISBN: 978-6-1 For information on all Focal Press publications visit our website at 08 09 10 11 12 13 TR899.A584 2008 778.5′350285-dc22 2007024309 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. Understanding the PAL Video Format Jaime Estrada-TorresĪspect Ratios, Anamorphic Image, and Wide-screenĪ Letter from the Author I edited my first film in 1974 on rewinds and a viewer. I also had a mag reader that could interlock three tracks of sound. My focus shifted to sound editing and mixing, but for the next ten years I continued editing on film using Steenbeck, Movieolla, and Kem flatbed editors. ![]() The vast majority of my editing was done on the ubiquitous Movieolla upright, rewinds, and several good film bins. ![]()
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