High definition postproduction : editing and delivering HD video / Steven E. Browne
التفاصيل :
رقم التسجيلة | 8371 |
نوع المادة | E-Book |
ردمك | 9780240808390 |
رقم الطلب | E-BooK |
المؤلف | Steven E. Browne |
العنوان | High definition postproduction : editing and delivering HD video / Steven E. Browne |
بيان الطبعة | ed.1 |
بيانات النشر | Amsterdam: Focal Press/Elsevier, 2007. |
الوصف المادي | 230 p |
المحتويات / النص |
Chapter 1 High Definition—A Multi-Format Video Why This Book Exists High Definition is Settling Down and Growing Up High Definition Size Delivery Determines Production FormatHistory A Typical Family The “Universal” Format Even More Choices and Confusion High Definition is Not New Government Gives Additional Channels for Television Stations HDV Excitement Europe Heads Into HD Land More United States Government Mandates Digital Broadcasting is Not Necessarily HD Why Digital Broadcasting is So Important to the Government Broadcast Formats High Definition Decoder/Tuner HD is a Series of Formats Formats Keep ArrivingChapter One Summary Chapter 2 What Is High Definition? Frame Rate Frame Recording Method Contrast Between Progressive and Interlaced Bit Depth Chroma Subsampling Compression Putting It Together The Production Choice Mixing SD and HD High Definition Production Choice Summary Everything is Changing When HD is Not True HD: Uprezing Video to HD Budget Considerations Computer File Size for High Definition Video Conversion Problems True Versus Converted Frames How to Choose an HD Format for a Particular Show Offline/Online Edit System Compatibility Nonlinear Editors With No Frame Rate Restrictions HD is Looking Good Lossy Versus Lossless Compression Shoot, Edit, and Deliver at One Frame Rate—What a Concept Chapter Two Summary High Definition Production Choice Summary Chapter 3 Myths and Questions About HD Can HD Be Seen on a Regular Television? Why Are There So Many High Definition Frame Rates? Why Did Congress Delay Turning Off the NTSC Broadcast Channels? Is Digital TV HD? Is Uncompressed the Best Way to Shoot HD? Is HD Digital TV? Do Television Stations Always Broadcast the Same Signal on Their Digital and Analog Channels? Is HDV the Same Quality as HD? Is High Definition Recorded the Same Way on All HD Machines? Is HD Used for Film Production? Are High Definition Images Always Used in the Digital Intermediate Process? Doesn’t Film Have More Resolution Than HD? CONTENTS Isn’t HD Just Like NTSC Only Wider and With More Detail? Is It True That a High Definition Frame Contains Much More Information Than an NTSC (Standard Definition) Frame Is HD Going to Replace Film? Is HD Going to Replace SD? Is HD the Best Format? Is Any HD Recording High Definition? Do Progressive Frames Have More Visual Quality Than Interlaced Frames? Will I Always Receive the Same High Definition Quality Images on My High Definition Television Set? Chapter Three Summary Chapter 4 More on the Technical Side Frame Rates 1080psf23.98 1080i59.94 (a.k.a. 1080i29.97) 1080p24, 720p24, 720p23.98, and 1080psf23.98 720p59.94 1080psf29.97 Integer Frame Rates Mbps Throughput Needs All Compressions Are Not Equal More Compression in Broadcasting Rapid Camera Development Editing Systems Single Editor—Single System Medium-Scale Access and Post Challenges Hardware Acceleration Codecs Linear Online Editing Chapter Four Summary Chapter 5 Preparing for and Shooting in High Definition The Video Village Tube Versus Flat Screen Standard Definition Protection Framing Contents Camera Lenses Are a Vital Aspect of Any Production Editing HDV HD 1080i59.94 Master With NTSC Media and a NTSC Delivery Mixing SD (NTSC 29.97) With HD 23.98 Master NTSC 29.97 Delivery Frame Rate Tape Versus Optical Disk or Solid State Media Recording Media to Disk Infinity Camera—Non-Tape Storage With Several Options Delivery Requirements Motion Effects and Alternative Frame Rates/Sizes—Change Tapes 23.98 is Not 24; 29.97 is Not 30 But Could Be 59.94i or 29.97 Camera and Record Deck Consideration—Testing and Monitoring Keeping Updated Via Email Editorial Equipment Consideration Tape Labeling in the Field Audio Concerns Heads and Tails Makeup Slates, Tape Logs, Clapsticks Slating Clapsticks Lighting Camera Movement 23.98 Speed of Camera Movement Time of Day Versus Continuous Run Time Code Graphics Delivery Issues Dolby 5.1 Chapter Five Summary Chapter 6 Real Postproduction Paths That Guy HD Shoot, HD Edit, HD Finish Super Bowl Feature Film Commercial—Example One Film Origination, HD Edit, and Delivery Let Me Count the Ways x CONTENTS HD Production, HD Post, HD Delivery Super Bowl Feature Film Commercial—Example Two Film Origination, HD Edit, and Delivery American Idol Dane Cook's Tourgasm HDV Production, HD Post, HD Delivery Staring at the Sun Film Production, HD Post, Film Delivery Kidney Thieves Film Production, HD Post, HD Delivery Unnamed HD DVD Project HD Production, HD Post, HD Delivery Kevin Smith HD Production, HD Post, HD Delivery A Place to Rest My Head HDV Production, HDV Post, HD Delivery Top Secret Project HD Production, HD Post, HD Delivery Every Network Has Its Own Rules Chapter 7 Other Editing Issues Viewing HD LCD Monitors Plasma Screens DLP Monitors Time Code Display from High Definition Decks Understanding Different Aspect Ratios in SD Edit System Compatibility The Preload Testing Workflow and Media Accuracy Edit System Updates Intermediate Codecs Versus “Native” Editing Data Management Data Protection Mixing Frame Rates Fixing It Yourself Credit Rolls in the 23.98 Frame Rate Organization and Data Protection Time Management Politics The Newest Fad Contents xi Connections Keeping It Simple Chapter Seven Summary Chapter 8 HD, Film, and Digital Intermediates HD for Feature Film The Details Shoot HD, Edit Offline, Conform HD, Enter DI, Output Film Shoot Film, Edit Offline, Cut Film Negative, Enter DI, Output Film LUTs Not to Be Taken Lightly The Video Versus Film Gap Film is Not a Good Duplication Medium The End of Film? Chapter Eight Summary Chapter 9 Employment Opportunities and New Horizons On the Horizon Future Sales of Today’s Productions High Def Will Be the Norm Chapter 10 Steve Browne’s Personal Summary HDV Works! A Few HD Connections FireWire HD-SDI DVI HDMI USB 2.0 Ethernet
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المستخلص |
* Real-world postproduction paths show how it's being done today * Numerous HD tables clear up what format is used for which purpose * Ample information on HDV * Debunks myths and answers common questions about HD Avoid costly missteps in postproduction and get it right the first time with this book. Written by an in-the-trenches professional who works with HD every day, High Definition Postproduction is an overview of this exciting opportunity for film and video production and postproduction professionals. High Definition production and editing is here and definitely a reality. High-def network shows are aired on a weekly basis. Several HD-only channels are well into their production schedules. HD is even used for major film productions and post production processes. However, unlike the existing 4x3, NTSC format, the HD world has many variables. This ability to choose various frame rates, frame sizes, bit rates, and color space options makes this an exciting, yet somewhat daunting challenge. The future may hold even more options as electronics continue to evolve and manufactures continue to exploit this format. Naturally, all of these options can lead to confusion and errors. This book begins with an overview of the HD format and then covers commonly-asked questions. A chapter on shooting details how to smooth the path for post. Postproduction workflows, including the digital intermediate, are covered in great detail, and are enhanced by real-world examples. From HDV to the high-end cameras used in Star Wars and Sin City, this book is your complete guide to HD. * Real-world postproduction paths show how it's being done today * Numerous HD tables clear up what format is used for which purpose * Ample information on HDV * Debunks myths and answers common questions about HD
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المواضيع | |
المواضيع | Motion pictures - EditingDigital video - Editing |
النسخ :
الباركود | رمز الوحدة | النسخة | نوع النسخة | |
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0000083710001 | E-BooK | 1 | عادي |