Final Exam Review

ADVANCED POST PRODUCTION

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

Digital TV

NETWORK HDTV ABC 720/60p FOX 720/60p NBC 1080/30i CBS 1080/30i

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.

  IDENTIFY THE CHROMA SAMPLING STRUCTURE BY THE PICTURES

YC YC YC YC

YC YC YC YC

YC YC YC YC

YC YC YC YC

4 : 4 : 4

YC Y YC Y

YC Y YC Y

YC Y YC Y

YC Y YC Y

4 : 2 : 2

YC Y Y Y

YC Y Y Y

YC Y Y Y

YC Y Y Y 4:1:1

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

Principles of Color correction p.44

  Restoration - First –  Restore the original

look of the scene. –  Maximize tonal range.

–  Preserving reality.

  Adaptation- Second –  Overall consistency.

–  Dramatic Effect.

–  Departing from realty.

Color Correction Groups

Secondary - applies color correction to a specific region based on a vector (color) or geographic region (shape).

Primary – applies color corrections on every pixel in an image or every pixel within a specific luma range.

LUMA RANGE •  HIGHLIGHTS •  MIDTONES •  SHADOWS

Restoration Workflow

 Open up the tonal range to provide the greatest range of luminance.

– Adjust Setup 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.

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.

Film Scanning Sizes

Scanning “Rez” Full frame 4k 4,096 x 3,112

2k 2,048 x 1,556

Aspect Ratio 1.316

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.

LUT

L.U.T. = Look Up Table

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.

GOOD LUCK!