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E-raamat: Modern Post: Workflows and Techniques for Digital Filmmakers

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(Professor, Chapman University, Dodge College of Film and Media Arts, Orange, CA, USA), (Color and Visual effects artist, credits including Thor: The Dark World and Iron Man 3, Glendale, CA, USA)
  • Formaat: 328 pages
  • Ilmumisaeg: 01-Aug-2014
  • Kirjastus: Routledge
  • ISBN-13: 9781317753049
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Modern Post: Workflows and Techniques for Digital FilmmakersSuurem pilt
  • Formaat: 328 pages
  • Ilmumisaeg: 01-Aug-2014
  • Kirjastus: Routledge
  • ISBN-13: 9781317753049
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With the shift from film to digital, today’s filmmakers are empowered by an arsenal of powerful, creative options with which to tell their story. Modern Post examines and demystifies these tools and workflows and demonstrates how these decisions can empower your storytelling.


Using non-technical language, authors Scott Arundale and Tashi Trieu guide you through everything you should consider before you start shooting. They begin with a look to past methodologies starting with traditional film techniques and how they impact current trends. Next they offer a look at the latest generation of digital camera and capture systems. The authors move on to cover:

* Preproduction- what camera is best for telling your story and why, budgeting for post
* Production- on-set data management, dailies, green screen, digital cinematography
* Postproduction- RAW vs. compressed footage, editing, visual effects, color correction, sound and deliverables including DCP creation


The book features cutting-edge discussion about the role of the digital imaging technician (DIT), how you can best use the Cloud, motion graphics, sound design, and much more. Case studies show you these solutions being applied in real-world situations, and the companion website features videos of techniques discussed in the book, as well as timely updates about technological changes in the landscape. www.focalpress.com/cw/arundale

List of Figures
xii
Foreword xvi
Alan Baumgarten
Preface xvii
Who Is This Book For? xviii
How to Read This Book xix
Acknowledgements xx
Part 1 Retrospective on Traditional Filmmaking
1.1 Retrospective on Traditional Filmmaking
3(8)
1.1.1 Historical Approach in Shooting and Projecting Film
3(1)
1.1.2 Developing and Processing at the Lab
4(1)
1.1.3 Editing Using a Film Work Print
5(2)
1.1.4 Negative Assembly at the Lab
7(1)
1.1.5 Color Timing Using Printer Lights
8(1)
1.1.6 Release Prints
8(3)
1.2 Evolution of Video Editing
11(12)
1.2.1 Early Offline Nonlinear Editing Systems
12(2)
1.2.2 Tape-to-Tape Onlines
14(2)
1.2.3 Digital Online Editing
16(1)
1.2.4 Transition from NTSC to HDTV
17(6)
Part 2 The Digital Film Frontier
2.1 New Frontiers of 21st-century Filmmaking
23(16)
2.1.1 Digital Intermediate
24(4)
2.1.2 File-Based Workflows
28(1)
2.1.3 Demise of Film?
29(1)
2.1.4 New Exhibition Formats
30(2)
2.1.5 Improvements in Digital Acquisition and Editing
32(3)
2.1.6 Archival and Future Proofing
35(1)
2.1.7 Nonlinear Production
36(3)
2.2 Workflow Best Practices
39(6)
2.2.1 Avoiding Pitfalls in Production that Affect Post
40(5)
2.3 Film
45(8)
2.3.1 Traditional Film Cameras
45(1)
2.3.2 Why Film Is the Look We Emulate
46(1)
2.3.3 Imaging Characteristics of Film vs. Video
47(1)
2.3.4 Added Expense of Shooting on Film vs. Digital
47(4)
2.3.5 Conversation with Walt Rose, Sales and Student Services, Fotokem
51(2)
2.4 Digital Video
53(4)
2.4.1 History of Digital Video in Cinema
53(1)
2.4.2 Ideal Uses of HD Digital Video
54(1)
2.4.3 Pros and Cons of Digital Video
55(2)
2.5 Digital Cinema Cameras
57(8)
2.5.1 History of Digital Cinema Cameras
57(1)
2.5.2 Digital Cinema Technology
58(1)
2.5.3 What's RAW All About?
59(1)
2.5.4 RAW Alternatives (Log Encoding)
60(1)
2.5.5 Mainstream Digital Cinema Cameras
61(2)
2.5.6 Specialty Digital Cinema Cameras
63(2)
2.6 Digital Single-Lens Reflex (DSLR) Overview
65(14)
2.6.1 Hybrid between Video and Digital Cinema
65(1)
2.6.2 Use in Independent Productions
66(1)
2.6.3 Use in Special Cases
67(1)
2.6.4 Pros and Cons
67(1)
2.6.5 Technicolor Cinestyle
67(1)
2.6.6 Magic Lantern
68(1)
2.6.7 Documentary Short: Baby Faced Assassin
68(11)
Part 3 Best Practices for Production
3.1 The Digital Loader and the Digital Imaging Technician (DIT)
79(6)
3.1.1 Origins of the DIT
79(1)
3.1.2 Digital Loader
80(1)
3.1.3 Digital Imaging Technician
81(2)
3.1.4 Data Management Tools
83(2)
3.2 Data Management in Practice
85(8)
3.2.1 Checksum Verification
86(1)
3.2.2 Shot Verification (against Script Supervisor Report)
87(1)
3.2.3 Back-Up to Redundant Drives
88(1)
3.2.4 What Is a RAID?
88(2)
3.2.5 LTO Tape Archive
90(1)
3.2.6 Typical Hardware Required for Transfer
90(3)
3.3 Digital Dailies
93(10)
3.3.1 The Function and Expectation of Dailies Historically
93(1)
3.3.2 Paradigm Shift in On-set Color Management
94(1)
3.3.3 On-set, Near Set or At the Lab?
94(1)
3.3.4 Editorial Prep for Offline Dailies
95(1)
3.3.5 Dual-system sound and Syncing
96(1)
3.3.6 Communicating Color Intent
97(6)
Part 4 Editing and Post-Production
4.1 Offline Editing
103(20)
4.1.1 Steps Towards Locking a Picture
103(1)
4.1.2 The Cutting Room
104(1)
4.1.3 Equipment Rental vs. Purchase
105(1)
4.1.4 Network Servers and Configuration
105(3)
4.1.5 Storage Requirements and Data Rates
108(2)
4.1.6 Monitoring Options
110(1)
4.1.7 Exhibition and Sharing Cuts and Previews
111(3)
4.1.8 Offsite Collaboration and the Cloud
114(4)
4.1.9 Conversation with Music Video Director Daniel Iglesias
118(5)
4.2 Online Conform
123(4)
4.2.1 How Does Online Differ from Offline?
123(1)
4.2.2 What Is a Conform?
124(1)
4.2.3 Proxies vs. Uncompressed Files
125(1)
4.2.4 Generalized Online Workflows
125(1)
4.2.5 Role of the Assistant Editor in Prep for Online
125(2)
4.3 Color Grading/Digital Intermediate (DI)
127(16)
4.3.1 No Longer a "Digital Intermediate"
128(1)
4.3.2 Why Not Color Correct in a Nonlinear Editor (NLE)?
129(1)
4.3.3 Goals of Color Grading
130(1)
4.3.4 Working with a Colorist
131(2)
4.3.5 Supervised vs. Unsupervised Grading
133(1)
4.3.6 Master Grading and Trim Passes
133(1)
4.3.7 Case Study: Blackmagic Davinci Resolve
133(3)
4.3.8 Essential Colorspaces
136(2)
4.3.9 ACES Workflow
138(5)
4.4 Dirt Fixes, Adding or Removing Grain and Noise
143(8)
4.4.1 Film Dust-Busting and Damage Removal
143(1)
4.4.2 Grain Matching and Addition for Effect
144(1)
4.4.3 Grain Management and Digital Noise Reduction (DNR)
144(7)
Part 5 Visual Effects and Titles
5.1 Visual Effects
151(16)
5.1.1 CGI and Compositing
152(1)
5.1.2 Animatics and Pre-Visualization
153(1)
5.1.3 Green Screen, Compositing and Set-Extension
154(3)
5.1.4 Rig and Wire Removal
157(1)
5.1.5 Beauty Work
157(1)
5.1.6 2K vs. 4K for Compositing and CGI
158(1)
5.1.7 VFX Editorial
159(2)
5.1.8 VFX Color Management
161(1)
5.1.9 VFX Integration in Color
162(1)
5.1.10 Conversation with Nancy St. John, VFX Producer
162(5)
5.2 Trailers and Promos
167(8)
5.2.1 Conversation with John David Currey, owner of Fresh Cut Creative
167(3)
5.2.2 Who Creates the Titles and Credits?
170(1)
5.2.3 Textless Master
171(1)
5.2.4 Subtitles and Closed Captions
171(4)
Part 6 Sound Design and Final Mastering
6.1 Modern Sound Design
175(16)
6.1.1 Conversation with Writer, Director, Composer Roy Finch
175(3)
6.1.2 What Is a Temp Track?
178(1)
6.1.3 When Should a Sound Designer Be Involved?
179(1)
6.1.4 Scheduling Spotting Sessions
180(1)
6.1.5 Pre-Dubs
180(1)
6.1.6 Automated Dialog Replacement (ADR)
180(1)
6.1.7 Foley
181(2)
6.1.8 Mixing
183(1)
6.1.9 Audio Deliverables
184(2)
6.1.10 Conversation with Sound Editor Harry Cheney
186(5)
6.2 Mastering and Quality Control
191(10)
6.2.1 Digital Cinema Package (DCP) Creation
191(2)
6.2.2 What is Audio Layback?
193(2)
6.2.3 Final Assembly in Preparation for Mastering
195(1)
6.2.4 Quality Control: QC Reports
196(5)
Part 7 Restoration and Archiving
7.1 Film and Video Restoration
201(6)
7.1.1 Video Up-Conversion
202(1)
7.1.2 Cross-Conversion
202(1)
7.1.3 Integrating Archival Footage in a Modern Feature
203(1)
7.1.4 Rebuilding Visual Effects from Source Material
204(3)
7.2 The Road Ahead for Digital Content
207(12)
7.2.1 Maintaining Original Film Elements
208(1)
7.2.2 Archiving Digital Source Media
209(1)
7.2.3 Inventory of Film and Digital Assets
209(2)
7.2.4 Restoration and Archive: Conversation with Andrea Kalas
211(8)
Part 8 Budgeting and Scheduling for Post
8.1 Budgeting and Scheduling for Post
219(20)
8.1.1 Scheduling and Hiring
219(2)
8.1.2 Estimating Costs
221(3)
8.1.3 Sample Post Budget
224(3)
8.1.4 List of Deliverables
227(1)
8.1.5 Sample Delivery Schedule
228(11)
Part 9 Case Studies
9.1 Case Study: Theatrical Feature -- Don Jon
239(6)
9.2 Case Study: Documentary Feature -- Tim's Vermeer
245(8)
Glossary 253(22)
Useful Links and Resources 275(4)
Bibliography 279(2)
Appendix 281(12)
About the Authors 293(2)
Permissions 295(2)
Index 297
Scott Arundale is an Assistant Professor at Chapman University, Dodge College of Film and Media Arts with over twenty years experience as editor and producer of filmed entertainment in Hollywood. He is both an Apple Certified Trainer in Final Cut Pro and Avid Certified Trainer for Media Composer. Scott is an associate member of the American Cinema Editors (ACE), University of Film and Video Association (UFVA), and the Digital Cinema Society (DCS).

Tashi Trieu attended Chapman Universitys Dodge College of Film and Media Arts, and received a BFA in Film Production, with an emphasis in cinematography and digital post-production. Tashi works as a freelance digital intermediate colorist and Smoke/Flame artist and has served as a digital workflow consultant on commercials and feature films.
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