final review slides
- 1. ADVANCED POST PRODUCTION Final Exam Review
- 2. RULE OF SIX p.19 1. Emotion 2. Story 3. Rhythm 4. Eye-trace 5. 2-D plane of screen 6. 3-D plane of action Walter Murch, In The Blink of an Eye: A Perspective on Film Editing. Los Angeles: Silman-James Press, 1995
- 3. Digital TV NETWORK HDTV ABC 720/60p FOX 720/60p NBC 1080/30i CBS 1080/30i
- 4. Chroma Sub-Sampling p.34-35 Chroma sampling allows for a reduction of digital data with a limited affect to visual integrity. Kind of like compression for the color difference signals. Human vision is less sensitive to color than brightness. 4 : 2 : 2 - Y : Cr : Cb - for every four times luma is sampled, the color difference signals are sampled only twice. In 4:2:2, Luma is sampled at 13.5Mhz, the color difference signals are sampled at 6.75Mhz each. YC YC YC YC YC Y YC Y YC Y Y Y YC YC YC YC YC Y YC Y YC Y Y Y YC YC YC YC YC Y YC Y YC Y Y Y YC YC YC YC YC Y YC Y YC Y Y Y 4:2:2 4:1:1 4:4:4 IDENTIFY THE CHROMA SAMPLING STRUCTURE BY THE PICTURES
- 5. Avid Native File Format MXF – Material eXchange Format - .mxf Container file like QuickTime, that wraps media embedded with a variety of codecs with additional metadata like timecode. OP-Atom – Avid, P2 standardized in SMPTE 390M OP1a – XDCAM standardized SMPTE 378M
- 6. Principles of Color correction p.44 Restoration - First Adaptation- Second – Restore the original – Overall consistency. look of the scene. – Dramatic Effect. – Maximize tonal range. – Departing from realty. – Preserving reality.
- 7. Color Correction Groups Primary – applies color Secondary - applies corrections on every pixel color correction to a in an image or specific region based on a every pixel within a specific vector (color) or geographic luma range. region (shape). LUMA RANGE • HIGHLIGHTS • MIDTONES • SHADOWS
- 8. Restoration Workflow Open up the tonal range to provide the greatest range of luminance. – AdjustSetup and Gain using waveform monitor. Gama can be used to your preference. Neutralize color casts or white balance issues to ensure that colors are correct. – Use Hue offsets or auto correct balance.
- 9. Optical Printing Optical Printing – – An ANALOG photochemical process of coping film negative onto new negative, for the purpose of creating a visual effect. – Create fades, dissolves, blowups, and double exposures for composites.
- 10. Film Scanning Sizes Scanning “Rez” Full frame 4k 4,096 x 3,112 2k 2,048 x 1,556 Aspect Ratio 1.316
- 11. Reel Balancing The act of apportioning the footage between multiple 2000' reels so that so that no reel has too little or too much film. This helps to divide the film up into manageable portions for audio post, distribution and projection. The LFOA or “Last Frame of Action” for each reel should be a HARD cut - no music - with only ambience and no dialogue near the cut. This way changeovers can be made without the audience noticing. Often Reel One is short 600’ to accommodate trailers and other material added by distributors. No reel to be longer than 2000' Try to avoid reels shorter than 400’ Each Reel becomes it’s own sequence in the NLE. All Lists, exports and deliverables are done by individual reel.
- 12. LUT L.U.T. = Look Up Table
- 13. Lists Assemble List or Negative Cut List – The E.D.L. Optical List – Indicates the effects and how to create them. Dupe List – Anything that needs to be copied or shown twice Pull List – Locates film for needed for digital scanning or negative cutting.
- 14. GOOD LUCK!