Download Digital Intermediates for Film and Video by Jack James PDF

By Jack James

The electronic Intermediate approach (DI), or conversion of movie to electronic bits after which again to movie back, has nice strength to revolutionize the postproduction procedure. The ability set to photochemically technique a film and pa it right into a canister for the postal carrier to ship round to the entire motion picture homes and the ability set to digitally grasp and create a dossier that's dispensed globally through the web and satellites are different. the sort of fullyyt new methods is that of the electronic intermediate. The DI has super benefits, starting from superior caliber (first "print" is pretty much as good because the final) to price discounts (no re-mastering) to electronic distribution (bits and bytes: no movie in canisters). The DI affects every thing from on set creation to the supply of content material to shoppers and every little thing in among.

Digital Intermediates for movie and Video teaches the basic recommendations and workflow of the electronic intermediate technique. Covers fundamentals of movie first, after which introduces the electronic world--including an instructional on electronic photographs, asset administration, on-line modifying, colour correction, recovery, movie and video output, studying and quality controls.

Jack's transparent and easy-to-follow explainiation of Hollywood buzz phrases and parts enables the spill over to a person who has a vested curiosity within the caliber and price of the motion picture.

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Extra resources for Digital Intermediates for Film and Video

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4 FRAME RATE As with most moving picture media, film imparts the illusion of motion by displaying still images in rapid succession. 5 For this reason, film footage is usually photographed at a rate of 24 frames per second. In some instances, different frame rates are used. For example, time lapse and other fast-motion effects can be created by photographing a scene at a much slower frame rate. If, for example, a scene is photographed once per second, then the scene will appear 24 times faster when viewed.

2 VIDEO 39 of the frame that follows 00:00:00:24 will be 00:00:01:00. For NTSC video formats, the timecode runs at 30 frames per second, which means that the timecode of the frame after 00:00:00:24 will be 00:00:00:25 and so on, up to 00:00:00:29 at which point the next frame becomes 01:00:01:00. There is a problem with this method though: NTSC video does not actually run at 30 frames per second. 97 frames per second. 94i HD video formats, although 30p and 60i formats run at exactly 30 frames per second (which in turn makes 30p and 60i formats incompatible with most NTSC systems).

It’s a medium that has changed surprisingly little during the past century, particularly compared to the progress of video and similar technologies, but film is still widely considered to produce the highest-quality images in the motion picture industry. 1 FILM IMAGE FORMATION A length of photographic film consists of light-sensitive crystals bound together in a transparent material. There are other aspects to most common film formats, such as “sprockets,” “dye layers,” and “key numbers” (each of which will be covered later in this chapter), but the crystals and binding agents are the only requirements for image formation.

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