(Ebook) Modern Post 1st Edition by Scott Arundale, Tashi Trieu ISBN 0415747023 9780415747028

(Ebook) Modern Post 1st Edition by Scott Arundale, Tashi Trieu ISBN 0415747023 9780415747028

(Ebook) Modern Post 1st Edition by Scott Arundale, Tashi Trieu - Ebook PDF Instant Download/Delivery: 0415747023, 9780415747028
Full download (Ebook) Modern Post 1st Edition after payment

Product details:

ISBN 10: 0415747023 
ISBN 13: 9780415747028
Author: Scott Arundale, Tashi Trieu

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

(Ebook) Modern Post 1stTable of contents:

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 Editing
1.2.4 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. Digital
2.3.5 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 Cinema
2.6.2 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 (Production Reports)
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
4.1.6 Monitoring Options
4.1.7 Exhibition and Sharing Cuts and Previews
4.1.8 Offsite Collaboration and the Cloud
4.1.9 Conversation with Music Video Director Daniel Iglesias
4.2 Online Conform
4.2.1 How Does Online Differ from Offline?
4.2.2 What Is a Conform?
4.2.3 Proxies vs. Uncompressed Files
4.2.4 Generalized Online Workflows
4.2.5 Role of the Assistant Editor in Prep for Online
4.3 Color Grading/Digital Intermediate (DI)
4.3.1 No Longer a “Digital Intermediate”
4.3.2 Why Not Color Correct in a Nonlinear Editor (NLE)?
4.3.3 Goals of Color Grading
4.3.4 Working with a Colorist
4.3.5 Supervised vs. Unsupervised Grading
4.3.6 Master Grading and Trim Passes
4.3.7 Case Study: Blackmagic Davinci Resolve
4.3.8 Essential Colorspaces
4.3.9 ACES Workflow
4.4 Dirt Fixes, Adding or Removing Grain and Noise
4.4.1 Film Dust-Busting and Damage Removal
4.4.2 Grain Matching and Addition for Effect
4.4.3 Grain Management and Digital Noise Reduction (DNR)
Part 5 Visual Effects and Titles
5.1 Visual Effects
5.1.1 CGI and Compositing
5.1.2 Animatics and Pre-Visualization
5.1.3 Green Screen, Compositing and Set-Extension
5.1.4 Rig and Wire Removal
5.1.5 Beauty Work
5.1.6 2K vs. 4K for Compositing and CGI
5.1.7 VFX Editorial
5.1.8 VFX Color Management
5.1.9 VFX Integration in Color
5.1.10 Conversation with Nancy St. John, VFX Producer
5.2 Trailers and Promos
5.2.1 Conversation with John David Currey, owner of Fresh Cut Creative
5.2.2 Who Creates the Titles and Credits?
5.2.3 Textless Master
5.2.4 Subtitles and Closed Captions
Part 6 Sound Design and Final Mastering
6.1 Modern Sound Design
6.1.1 Conversation with Writer, Director, Composer Roy Finch
6.1.2 What Is a Temp Track?
6.1.3 When Should a Sound Designer Be Involved?
6.1.4 Scheduling Spotting Sessions
6.1.5 Pre-Dubs
6.1.6 Automated Dialog Replacement (ADR)
6.1.7 Foley
6.1.8 Mixing
6.1.9 Audio Deliverables
6.1.10 Conversation with Sound Editor Harry Cheney
6.2 Mastering and Quality Control
6.2.1 Digital Cinema Package (DCP) Creation
6.2.2 What is Audio Layback?
6.2.3 Final Assembly in Preparation for Mastering
6.2.4 Quality Control: QC Reports
Part 7 Restoration and Archiving
7.1 Film and Video Restoration
7.1.1 Video Up-Conversion
7.1.2 Cross-Conversion
7.1.3 Integrating Archival Footage in a Modern Feature
7.1.4 Rebuilding Visual Effects from Source Material
7.2 The Road Ahead for Digital Content
7.2.1 Maintaining Original Film Elements
7.2.2 Archiving Digital Source Media
7.2.3 Inventory of Film and Digital Assets
7.2.4 Restoration and Archive: Conversation with Andrea Kalas
Part 8 Budgeting and Scheduling for Post
8.1 Budgeting and Scheduling for Post
8.1.1 Scheduling and Hiring
8.1.2 Estimating Costs
8.1.3 Sample Post Budget
8.1.4 List of Deliverables
8.1.5 Sample Delivery Schedule
Part 9 Case Studies
9.1 Case Study: Theatrical Feature – Don Jon
9.2 Case Study: Documentary Feature – Tim’s Vermeer
Glossary

People also search for (Ebook) Modern Post 1st:

post-modern books
    
post-postmodern novels
    
post-modern novels
    
post-postmodern
    
post modern era books
    
modern facebook post

Tags: Scott Arundale, Tashi Trieu, Modern, Post