Format:
XX, 305 S.
,
Ill., graph. Darst.
Edition:
1. publ.
ISBN:
9780415747028
,
9781315797274
Note:
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 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 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
Language:
English
Subjects:
Engineering
,
General works
Keywords:
Filmtechnik
;
Digitaltechnik
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