The document provides information on various topics in advanced post-production including:
1. Walter Murch's "Rule of Six" principles for film editing.
2. Digital TV standards for networks like ABC, FOX, NBC and CBS.
3. Chroma sub-sampling formats like 4:2:2 and 4:1:1.
4. The Avid Native file format MXF and codecs like OP-Atom and OP1a.
5. Principles of color correction including restoration and adaptation.
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
๏ฎโฏ Chroma sampling allows for a reduction of digital data with a limited
affect to visual integrity.
๏ฎโฏ Kind of like compression for the color difference signals.
๏ฎโฏ Human vision is less sensitive to color than brightness.
๏ฎโฏ 4 : 2 : 2 - Y : Cr : Cb - for every four times luma is sampled, the color
difference signals are sampled only twice.
๏ฎโฏ 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
๏ฎโฏ IDENTIFY THE CHROMA SAMPLING STRUCTURE BY THE PICTURES
5. Avid Native File Format
๏ฎโฏ MXF โ Material eXchange Format - .mxf
๏ตโฏ Container file like QuickTime, that wraps media
embedded with a variety of codecs with additional
metadata like timecode.
๏ตโฏ OP-Atom โ Avid, P2 standardized in SMPTE 390M
๏ตโฏ OP1a โ XDCAM standardized SMPTE 378M
6. Principles of Color correction p.44
๏ฌโฏ Restoration - First ๏ฌโฏ Adaptation- Second
โโฏ Restore the original โโฏ Overall consistency.
look of the scene. โโฏ Dramatic Effect.
โโฏ Maximize tonal range. โโฏ Departing from realty.
โโฏ Preserving reality.
7. Color Correction Groups
Primary โ 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
โขโฏ HIGHLIGHTS
โขโฏ MIDTONES
โขโฏ SHADOWS
8. Restoration Workflow
๏ฌโฏ Open up the tonal range to provide the
greatest range of luminance.
โโฏ AdjustSetup and Gain using waveform
monitor. Gama can be used to your
preference.
๏ฌโฏ Neutralize color casts or white balance
issues to ensure that colors are correct.
โโฏ Use Hue offsets or auto correct balance.
9. Optical Printing
๏ฌโฏ Optical Printing โ
โโฏ An ANALOG photochemical process of
coping film negative onto new negative, for the
purpose of creating a visual effect.
โโฏ Create fades, dissolves, blowups, and double
exposures for composites.
11. Reel Balancing
๏ฌโฏ 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.
๏ฌโฏ The LFOA or โLast Frame of Actionโ 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.
๏ฌโฏ Often Reel One is short 600โ to accommodate trailers and
other material added by distributors.
๏ฌโฏ No reel to be longer than 2000'
๏ฌโฏ Try to avoid reels shorter than 400โ
๏ฌโฏ Each Reel becomes itโs own sequence in the NLE.
๏ฌโฏ All Lists, exports and deliverables are done by individual reel.
13. Lists
๏ฌโฏ Assemble List or Negative Cut List
โโฏ The E.D.L.
๏ฌโฏ Optical List
โโฏ Indicates the effects and how to create them.
๏ฌโฏ Dupe List
โโฏ Anything that needs to be copied or shown twice
๏ฌโฏ Pull List
โโฏ Locates film for needed for digital scanning or negative
cutting.