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Modern Post: Workflows and Techniques for Digital Filmmakers

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Modern Post: Workflows and Techniques for Digital Filmmakers Modern Post Workflows and Techniques for Digital Filmmakers This page intentionally left blank Modern Post Workflows and Techniques for Digital Filmmakers Scott Arundale and Tashi Trieu First published 2015 by Focal Press 70 Blanchard Road, Suite 402, Burlington, MA 01803 and by Focal Press 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Focal Press is an imprint of the Taylor & Francis Group, an informa business © 2015 Taylor & Francis The right of Scott Arundale and Tashi Trieu to be identified as author of this work has been asserted by them in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notices Knowledge and best practice in this field are constantly changing. As new research and experience broaden our understanding, changes in research methods, professional practices, or medical treatment may become necessary. Practitioners and researchers must always rely on their own experience and knowledge in evaluating and using any information, methods, compounds, or experiments described herein. In using such information or methods they should be mindful of their own safety and the safety of others, including parties for whom they have a professional responsibility. Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging in Publication Data Arundale, Scott. Post modern : post-production workflows and techniques for digital filmmakers / Scott Arundale and Tashi Trieu ; foreword by Alan Baumgarten, A.S.C. pages cm 1. Digital cinematography. 2. Motion pictures—Editing—Data processing. I. Trieu, Tashi. II. Title. TR860.A88 2014 777ʹ.8—dc23 2014009894 ISBN: 978-0-415-74702-8 (pbk) ISBN: 978-1-315-79727-4 (ebk) Typeset in Times By Apex CoVantage, LLC To my wife, Jennifer: your humor, patience and inspiration make the journey all the more wonderful. And to my children, Isabella and Madeleine: may your boundless curiosity take you to places never imagined. SA To my parents, family, friends, and mentors who have always supported me in my endeavors. TT This page intentionally left blank Contents List of Figures .................................................................................................................................. xii Foreword by Alan Baumgarten, A.C.E. .......................................................................................... xvi Preface ............................................................................................................................................ xvii Who Is This Book For? ................................................................................................................. xviii How to Read This Book .................................................................................................................. xix Acknowledgements ........................................................................................................................... xx Part 1 Retrospective on Traditional Filmmaking 1.1 Retrospective on Traditional Filmmaking ����������� 3 1.1.1 Historical Approach in Shooting and Projecting Film ................................... 3 1.1.2 Developing and Processing at the Lab ........................................................... 4 1.1.3 Editing Using a Film Work Print ����������������������ï 5 1.1.4 Negative Assembly at the Lab ....................................................................... 7 1.1.5 Color Timing Using Printer Lights ��������������������� 8 1.1.6 Release Prints ��������������������������������ï 8 1.2 Evolution of Video Editing ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿ 11 1.2.1 Early Offline Nonlinear Editing Systems .................................................... 12 1.2.2 Tape-to-Tape Onlines ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿ 14 1.2.3 Digital Online Editing.................................................................................. 16 1.2.4 Transition from NTSC to HDTV ................................................................. 17 Part 2 The Digital Film Frontier 2.1 New Frontiers of 21st-Century Filmmaking ............................ 23 2.1.1 Digital Intermediate ����������������������������ï 24 2.1.2 File-Based Workflows.................................................................................. 28 2.1.3 Demise of Film? ������������������������������ 29 2.1.4 New Exhibition Formats �������������������������� 30 2.1.5 Improvements in Digital Acquisition and Editing ....................................... 32 2.1.6 Archival and Future Proofing ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿ 35 2.1.7 Nonlinear Production ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿ 36 2.2 Workflow Best Practices ������������������ 39 2.2.1 Avoiding Pitfalls in Production that Affect Post .......................................... 40 2.3 Film ���������������������������� 45 2.3.1 Traditional Film Cameras �������������������������ï 45 2.3.2 Why Film Is the Look We Emulate ��������������������ï 46 2.3.3 Imaging Characteristics of Film vs. Video .................................................. 47 2.3.4 Added Expense of Shooting on Film vs. Digital ......................................... 47 2.3.5 Conversation with Walt Rose, Sales and Student Services, Fotokem .......... 51 VII viii Contents 2.4 Digital Video ........................................................................ 53 2.4.1 History of Digital Video in Cinema ............................................................. 53 2.4.2 Ideal Uses of HD Digital Video ................................................................... 54 2.4.3 Pros and Cons of Digital Video ����������������������ï 55 2.5 Digital Cinema Cameras ������������������ï 57 2.5.1 History of Digital Cinema Cameras ............................................................ 57 2.5.2 Digital Cinema Technology ������������������������ï 58 2.5.3 What’s RAW All About? .............................................................................. 59 2.5.4 RAW Alternatives (Log Encoding) .............................................................. 60 2.5.5 Mainstream Digital Cinema Cameras .......................................................... 61 2.5.6 Specialty Digital Cinema Cameras .............................................................. 63 2.6 Digital Single-Lens Reflex (DSLR) Overview ........................... 65 2.6.1 Hybrid between Video and Digital Cinema ................................................. 65 2.6.2 Use in Independent Productions ���������������������� 66 2.6.3 Use in Special Cases .................................................................................... 67 2.6.4 Pros and Cons �������������������������������ï 67 2.6.5 Technicolor Cinestyle ���������������������������ï 67 2.6.6 Magic Lantern �������������������������������ï 68 2.6.7 Documentary Short: Baby Faced Assassin .................................................. 68 Part 3 Best Practices for Production 3.1 The Digital Loader and the Digital Imaging Technician (DIT) ���������������������� 79 3.1.1 Origins of the DIT ����������������������������� 79 3.1.2 Digital Loader �������������������������������ï 80 3.1.3 Digital Imaging Technician ������������������������ï 81 3.1.4 Data Management Tools �������������������������� 83 3.2 Data Management in Practice ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿½ï¿ 85 3.2.1 Checksum Verification ��������������������������� 86 3.2.2 Shot Verification (against Script Supervisor Report) ..................................
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