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2016 | Book

The Tools of Digital Video: Non-Linear Editing Software Read chapter Read first chapter

Digital Video Editing Fundamentals

Author: Wallace Jackson

Publisher: Apress

Part of: Springer Professional "Wirtschaft+Technik" , Springer Professional "Technik" , Springer Professional "Wirtschaft"

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About this book

This compact visual guide covers concepts central to digital video using the affordable Corel Video Studio Ultimate X9 software package as well as open source digital video editing package Editshare Lightworks 12.
Digital Video Editing Fundamentals builds on the essential concepts of digital imaging, audio, illustration, and painting, and gets more advanced as chapters progress, covering what digital video new media formats are best for use with Android Studio, Java and JavaFX, iOS and HTML5.
Furthermore, the author covers the key factors regarding the data footprint optimization work process, streaming versus captive assets, and why these are important.
What You'll LearnWhat is the terminology of digital video editing and special effects
What comprises a digital video editing and effects pipeline
What are the concepts behind digital video editing
What are the concepts behind Resolution, Aspect Ratio, Bit Rate and Color Depth
Pixel editing, color correction, layers, compression are all discussed in some detail
How to use digital video file formats and data footprint optimization
Audience
Primary: Video BLOGGERS, Website Developers, Musicians, Digital Signage, e-Learning Content Creators. Secondary: Android Developers, iOS Developers, Multimedia Producers, Rich Internet Application (RIA) Programmers, Game Designers, UI Designers, Teachers, Composers.

Table of Contents

Frontmatter
Chapter 1. The Tools of Digital Video: Non-Linear Editing Software
Abstract
This book will take you through the foundation of digital video editing, as well as covering how to use other new media assets in your digital video editing pipeline, such as raster imagery, vector illustration, digital painting, digital audio, and special effects. If you're interested in any of these, the author has a series of fundamentals books, covering each of these multimedia genres, which were released near the end of 2015. The author will be adding to these new media fundamentals books in 2016 starting with this title in the first quarter. We will also be covering using digital video assets created during this book with popular computer programming languages, as well as in open source content publishing platforms, such as Kindle, Android Studio, HTML5, Java, or JavaFX. I will start at the lowest level concepts; in this chapter this will be available software tools, and we will build upon each of these foundational concepts in subsequent chapters until you have a fundamental understanding of digital video editing tools, concepts, terms, and techniques.
Wallace Jackson
Chapter 2. Digital Video Hardware: Configuring the Workstation
Abstract
Now that we have taken a look at some of the digital video editing software packages, let's take a look at some of the digital video editing hardware that you will need to acquire and assemble to put together a professional video editing workstation. The hardware components in a digital video editing workstation are extremely important, as digital video is quite "data heavy" as it contains a series of high resolution imagery called "frames" Digital video hardware frames that can span hours of content, taking the data processed into the Terabytes. This can require a gaggle of fast processor cores, billions of bytes of system memory, hyper-fast data storage devices, digital signal processing GPU adapters, and external digital video editing hardware peripherals that allow you to interface with your supercomputer and software in real time, using finely tuned jog wheels, faders, and buttons.
Wallace Jackson
Chapter 3. The Scope of Digital Video: Setting Up Your Workstation
Abstract
Now that we have taken a tour of digital video editing software and gone over digital video editing hardware considerations, it is time to put together our digital video editing workstations. I am nothing, if not thorough, so we will install an open source professional level package (EditShare Lightworks), the consumer level Corel VideoStudio X9 Ultimate, and the "Prosumer" level Pinnacle Studio 19.
Wallace Jackson
Chapter 4. The Foundation of Digital Video: Static 2D Concepts
Abstract
Now that you have some digital video editing software installed along with other related new media software genres such as digital illustration, digital audio, digital imaging, and visual effects (VFX), it's now time to get into underlying concepts that span digital video as well as digital illustration and digital image editing and compositing. These concepts provide your foundation for what is contained within each "frame" Static 2D concepts frame of your digital video asset. We will cover frames, or the fourth dimension of motion, in the next chapter. In this chapter we'll cover the X,Y second dimension of 2D space including both raster and vector types of multimedia assets and the technical concepts underlying them.
Wallace Jackson
Chapter 5. Movement in Digital Video: Frames, the 4th Dimension
Abstract
Now that you have an understanding of the fundamental concepts, terms, and principles of "static" vector illustration and raster image new media content, it is time to get into new media concepts, terms, formats, and principles that are specific to digital video (as well as to 2D and 3D animation). We will look at the two popular video file formats supported by widely used platforms, such as Android Studio, HTML5, Windows, Kindle, and iOS. We'll be looking at the concepts behind analog video, film, and animation, and how these can be digitized inside digital video editing software packages. We will look at how digital video is created using image frames, displayed at a rapid rate of speed, and we will look at digital video concepts, such as frame rates and industry standard video resolutions. We'll look at advanced digital video encoder and playback (decoding) concepts, such as bit-rates, video streaming, HD audio, and captive digital video.
Wallace Jackson
Chapter 6. The Sound of Digital Video: Digital Audio Editing Theory
Abstract
Now that you have an understanding of the fundamental concepts; terms; and principles of digital imaging and how imagery becomes video, and which HD file formats that HTML5 and Android Studio support, it is time to get into one more important genre of new media that will need to be mastered for digital video production: Digital Audio. We will be looking at the concepts behind analog audio, as well as how it is digitized into digital audio, and the formats that can be used in your digital video projects and how to convert between them. Analog and digital waveform concepts will apply across both audio mediums as well as in the digital video realm, so this is an important chapter as great audio is key to great video; even though you can't actually visualize it with your eyes, the video just seems better with great sound.
Wallace Jackson
Chapter 7. Capturing Digital Video: Digital Camera Concepts
Abstract
Now that you have an understanding of the fundamental concepts, terms, and principles of new media elements that comprise video projects, let's take a look at capturing raw video content with a digital camera, as well as digital camera concepts. We will be looking at how the digital camera digitizes imagery, formats it uses to store frames on-camera (or in-camera), and related topics such as high-speed Firewire and USB3 data transfer.
Wallace Jackson
Chapter 8. The Workflow for Digital Video: Capture, Edit, Export
Abstract
Now that you have an understanding of digital cameras that you will use for capturing raw video content, we can take a look at the high-level workflow for digital video projects, including capture; using the digital camera or data files; editing, which is what the rest of the book will be about; and exporting digital video files compatible with popular codecs, which Corel VideoStudio calls "sharing."
Wallace Jackson
Chapter 9. The Composition of Digital Video: Timeline Editing
Abstract
Now that we have taken a tour of VideoStudio and seen how this prosumer level software package implements a high-level import-edit-export digital video editing paradigm, we can take a look at the Timeline editing approach in VideoStudio, since this is the approach used in other digital video editing software packages. The primary limitation with VideoStudio is that it has only one background or core video content track (the top track) and up to 20 overlay tracks.
Wallace Jackson
Chapter 10. The Spectrum of Digital Video: Color Correction
Abstract
Now that we have taken a look at how to assemble a standard digital video editing project in VideoStudio Ultimate, we can take a look at some of the more niche work processes that video editors do, such as working with the color of the video asset. There are a number of tools for changing pixel color values for each of the frames in a video clip. Most of these are in the form of Filters (FX in VideoStudio) as an algorithm must apply the color adjustment (correction) settings across a potentially large number of video frames.
Wallace Jackson
Chapter 11. The Algorithms of Digital Video: Special Effects Filters
Abstract
Now that we have taken a look at how to apply color adjustments and color correction for your digital video editing projects in VideoStudio Ultimate, we'll take a look at how to use algorithms to create digital video special effects. These algorithms are commonly available as "plug-ins" that add special effects to the software. Most of the software genres, such as digital imaging, digital audio editing, digital illustration, digital painting, sound design and visual effects, support plug-in architectures, just like your nonlinear digital video editing software does.
Wallace Jackson
Chapter 12. The Data Footprint of Digital Video: Compression
Abstract
Now that we have taken a look at how to apply color adjustment, color correction, motion correction, and special effects for your digital video editing projects in VideoStudio Ultimate, we'll take a look at how to use compression algorithms to create optimized. These algorithms are also commonly available as plug-ins, which add different data formats to the digital video editing software. Most of the software genres, such as digital imaging, digital audio editing, digital illustration, digital painting, sound design, and visual effects, support these codec architectures for "exporting" new media data, just like your nonlinear digital video editing software does.
Wallace Jackson
Chapter 13. The Automation of Digital Video: Programming
Abstract
Now that you have learned how to create professional digital video content and projects using powerful tracks, algorithms, and transitions with the VideoStudio Ultimate digital video editing software packages, let's take a look at how to leverage the digital video data that these software packages generate (export). You will bridge DVE to Apps by using the most popular and widespread video file formats inside several of the popular open programming platforms. The reason we're taking a look at these open content programming platforms themselves is because I wanted to cover JavaFX, Android, and HTML5, just in case you wanted to take your digital video editing career to the next level, which would involve 3D, interactivity, edutainment, and gamification.
Wallace Jackson
Chapter 14. Publishing Digital Video: Content Delivery Platforms
Abstract
Now that you have some exposure to fundamental concepts; techniques and principles; spanning: digital video editing, vector digital illustration, raster digital image compositing, and programming, it's time to take a closer look at how to publish digital video content. We will look at digital video publishing using popular open source content distribution platforms such as HTML5, Java and JavaFX, Kindle, and Android 6. I am going to organize this chapter based upon consumer electronics hardware device genres.
Wallace Jackson
Backmatter
Metadata
Title
Digital Video Editing Fundamentals
Author
Wallace Jackson
Copyright Year
2016
Publisher
Apress
Electronic ISBN
978-1-4842-1866-2
Print ISBN
978-1-4842-1865-5
DOI
https://doi.org/10.1007/978-1-4842-1866-2