High definition postproduction : editing and delivering HD video / Steven E. Browne

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رقم التسجيلة 8371
نوع المادة E-Book
ردمك 9780240808390
رقم الطلب

E-BooK

شخص 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

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

المواضيع
المواضيع Motion pictures - Editing
Digital video - Editing