Modern post workflows and techniques for digital filmmakers
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-technica...
| Otros Autores: | , |
|---|---|
| Formato: | Libro electrónico |
| Idioma: | Inglés |
| Publicado: |
Burlington, Mass. :
Focal Press
2015.
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| Edición: | 1st edition |
| Materias: | |
| Ver en Biblioteca Universitat Ramon Llull: | https://discovery.url.edu/permalink/34CSUC_URL/1im36ta/alma991009629414906719 |
Tabla de Contenidos:
- Cover; Half Title; Title; Copyright; Dedication; Contents; List of Figures; Foreword; Preface; Who Is This Book For?; How to Read This Book; Acknowledgements; Part 1 Retrospective on Traditional Filmmaking; 1.1 Retrospective on Traditional Filmmaking; 1.1.1 Historical Approach in Shooting and Projecting Film; 1.1.2 Developing and Processing at the Lab; 1.1.3 Editing Using a Film Work Print; 1.1.4 Negative Assembly at the Lab; 1.1.5 Color Timing Using Printer Lights; 1.1.6 Release Prints; 1.2 Evolution of Video Editing; 1.2.1 Early Offline Nonlinear Editing Systems; 1.2.2 Tape-to-Tape Onlines
- 1.2.3 Digital Online Editing1.2.4 Transition from NTSC to HDTV; Part 2 The Digital Film Frontier; 2.1 New Frontiers of 21st-Century Filmmaking; 2.1.1 Digital Intermediate; 2.1.2 File-Based Workflows; 2.1.3 Demise of Film?; 2.1.4 New Exhibition Formats; 2.1.5 Improvements in Digital Acquisition and Editing; 2.1.6 Archival and Future Proofing; 2.1.7 Nonlinear Production; 2.2 Workflow Best Practices; 2.2.1 Avoiding Pitfalls in Production that Affect Post; 2.3 Film; 2.3.1 Traditional Film Cameras; 2.3.2 Why Film Is the Look We Emulate; 2.3.3 Imaging Characteristics of Film vs. Video
- 2.3.4 Added Expense of Shooting on Film vs. Digital2.3.5 Conversation with Walt Rose, Sales and Student Services, Fotokem; 2.4 Digital Video; 2.4.1 History of Digital Video in Cinema; 2.4.2 Ideal Uses of HD Digital Video; 2.4.3 Pros and Cons of Digital Video; 2.5 Digital Cinema Cameras; 2.5.1 History of Digital Cinema Cameras; 2.5.2 Digital Cinema Technology; 2.5.3 What's RAW All About?; 2.5.4 RAW Alternatives (Log Encoding); 2.5.5 Mainstream Digital Cinema Cameras; 2.5.6 Specialty Digital Cinema Cameras; 2.6 Digital Single-Lens Reflex (DSLR) Overview
- 2.6.1 Hybrid between Video and Digital Cinema2.6.2 Use in Independent Productions; 2.6.3 Use in Special Cases; 2.6.4 Pros and Cons; 2.6.5 Technicolor Cinestyle; 2.6.6 Magic Lantern; 2.6.7 Documentary Short: Baby Faced Assassin; Part 3 Best Practices for Production; 3.1 The Digital Loader and the Digital Imaging Technician (DIT); 3.1.1 Origins of the DIT; 3.1.2 Digital Loader; 3.1.3 Digital Imaging Technician; 3.1.4 Data Management Tools; 3.2 Data Management in Practice; 3.2.1 Checksum Verification; 3.2.2 Shot Verification (against Script Supervisor Report); 3.2.3 Back-Up to Redundant Drives
- 3.2.4 What Is a RAID?3.2.5 LTO Tape Archive; 3.2.6 Typical Hardware Required for Transfer; 3.3 Digital Dailies; 3.3.1 The Function and Expectation of Dailies Historically; 3.3.2 Paradigm Shift in On-set Color Management; 3.3.3 On-set, Near Set or At the Lab?; 3.3.4 Editorial Prep for Offline Dailies; 3.3.5 Dual-system sound and Syncing; 3.3.6 Communicating Color Intent; Part 4 Editing and Post-Production; 4.1 Offline Editing; 4.1.1 Steps Towards Locking a Picture; 4.1.2 The Cutting Room; 4.1.3 Equipment Rental vs. Purchase; 4.1.4 Network Servers and Configuration
- 4.1.5 Storage Requirements and Data Rates
