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Choosing the Right Camera | |
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What Makes Digital Cameras 'Digital'? DV's Distinct Advantages | |
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Analog vs. Digital | |
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How Camcorders Work | |
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Capturing Color | |
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Compression | |
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Recording Digital Video | |
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The Lens | |
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Recording Digital Audio | |
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Looking for the Right Features | |
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Inputs and Outputs | |
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Identifying FireWire Ports | |
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Charge-Coupled Devices | |
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One-Chip Camcorders | |
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Three-Chip Camcorders | |
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High-Definition Camcorders | |
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The Right Camera for Film Transfer | |
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Progressive-Frame Cameras | |
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Television Standards. 24P. Widescreen Mode | |
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True 16:9 Recording | |
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Camera Features | |
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The Viewfinder | |
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Manual vs. Automatic Controls | |
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Variable Shutter Speed | |
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Detachable Lenses | |
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Get the Best You Can Afford | |
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Filmmaker Profile: Scott Coffey | |
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DV Shooting Tips | |
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Getting Superior Shots from DV Cameras | |
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Controlling the Image | |
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Lens Filters | |
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Conversion Lenses | |
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Anamorphic Adapters | |
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Taking Focus into Your Own Hands | |
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Lens Controllers | |
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Controlling the Set | |
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Audio Tips | |
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External Audio Accessories | |
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Lighting | |
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Shooting for Special Effects | |
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Lighting Chromakey Scenes | |
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Mattes | |
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Controlling Motion | |
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Film Motion in Video Footage | |
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Camera Movement for Web Video | |
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Handling the Camcorder | |
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Tripods, Jibs, and Dollies | |
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Filmmaker Profile: Silver Planet Studio | |
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Making a Connection | |
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Where Can I Plug in My Camera? Plugging into Decks and Mixers | |
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Adding a Capture Card to Your PC. PCI Capture Boards | |
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CardBus Adapters for Laptops | |
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Extending Your Reach | |
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FireWire Cable Length | |
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Using FireWire Hubs and Repeaters | |
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Analog, Composite, and S-Video Jacks | |
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Linking Cameras | |
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Filmmaker Profile: Rolf Gibbs | |
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Capturing and Storing Footage | |
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How DV Capture Works | |
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Converting Footage over FireWire | |
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Importing Footage into Applications | |
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Device Control | |
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Marking Footage for Import | |
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Viewing Your Clips | |
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Saving and Backing Up | |
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When Space Runs Out | |
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Maximum Length for Captured Clips58 | |
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FireWire Storage Devices | |
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Mondo Storage Devices | |
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RAID Systems | |
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Smart Storage Techniques | |
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Logging Footage | |
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Capturing by Timecode | |
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Batch Capturing | |
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Naming Clips | |
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Media Management Tools | |
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Capturing Straight to Disk | |
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Using Measuring Equipment | |
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Capturing Live Video from a Camera | |
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Filmmaker Profile: Damaged Californians | |
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Previewing and Editing Projects | |
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Options for Video Playback | |
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Preview Frames | |
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Editing Application Overview | |
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Device Options | |
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Reference Monitors | |
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Scan Converters | |
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Using Camcorders for Previewing | |
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Previewing Audio | |
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Previewing Uncompressed Footage | |
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Real Time vs. Rendered | |
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Breakout Boxes | |
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Digital Displays | |
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Filmmaker Profile: Bryan Boyce | |
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Using Still Images | |
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How Still Photos Are Used in Moviemaking | |
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Simple Storytelling via Still Photos | |
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Creating Freeze Frames | |
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Matte Photography and Special Effects | |
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Stop-Motion Animation | |
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FireWire-Equipped Still Cameras | |
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Downloading Digital Photos | |
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Checking for Resolution | |
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Square and Nonsquare Pixels | |
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Scanners and Printers | |
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Filmmaker Profile: Mark Osborne | |
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Setting Up a network | |
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Superior Network Speed | |
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Simple File-Sharing Configurations | |
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Target Disk Mode | |
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Connecting Multiple Computers | |
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File-Sharing Devices | |
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Building Larger Networks | |
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Protocol Options | |
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Choosing a Network Configuration | |
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Printing over FireWire Networks | |
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Filmmaker Profile: MK12 | |
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Finishing Your Movies | |
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Exporting and Archiving Movies | |
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Exporting to DV Tapes | |
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Copying to VHS Tape | |
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Movies for Web or Wireless Devices | |
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From FireWire to Film | |
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Preparing Footage for Film Transfer | |
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Distributing Movies on CDs or DVDs | |
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Saving Your Movie for CD-ROM. DAT Recorders | |
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Do-It-Yourself DVD Solutions | |
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Filmmaker Profile: The Orphanage | |
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Web References | |
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FireWire Discussions and News Groups | |
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FireWire Cameras and Accessories | |
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Moviemaking Magazines and Resources | |
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Software Vendors | |
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FireWire Hardware Manufacturers | |
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Profiled FireWire Filmmakers | |
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Using the DVD | |