Digital Intermediates for Film and Video
The Digital Intermediate process (DI), or conversion of film to digital bits and then back to film again, has great potential to revolutionize the postproduction process. The skill set to photochemically process a movie and pop it into a canister for the postal service to send around to all of the movie houses and the skill set to digitally master and create a file that is distributed globally via the Internet and satellites are completely different. One of these entirely new processes is that of the digital intermediate. The DI has tremendous advantages, ranging from improved quality (first "print" is as good as the last) to cost savings (no re-mastering) to digital distribution (bits and bytes: no film in canisters). The DI influences everything from on set production to the delivery of content to consumers and everything in between.
Digital Intermediates for Film and Video teaches the fundamental concepts and workflow of the digital intermediate process. Covers basics of film first, and then introduces the digital world--including a tutorial on digital images, asset management, online editing, color correction, restoration, film and video output, mastering and quality control.
Jack's clear and easy-to-follow explainiation of Hollywood buzz words and components facilitates the spill over to anyone who has a vested interest in the quality and cost of the movie.ics of film first, and then introduces the digital world--including a tutorial on digital images, asset management, online editing, color correction, restoration, film and video output, mastering and quality control.
Jack's clear and easy-to-follow explainiation of Hollywood buzz words and components facilitates the spill over to anyone who has a vested interest in the quality and cost of the movie.
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1 The Digital Intermediate Paradigm
3 Photographic Film
4 Digital Media
6 Asset Management
8 Color Grading
12 Quality Control
13 The Future of Digital Film
14 Virtual Cinematography
9 Retouching and Restoration
10 Digital Effects and Titles
Color Plates Section
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additional analog Andrew Francis applied artifacts aspect ratio calibrated camera changes Chapter chroma key Cineon color grading color space components compression computer systems conforming system copy correct create damage degradation deinterlaced digital cinema digital images digital intermediate facilities digital intermediate pipeline digital intermediate process digital video display dynamic range edge encoded ensure example FIGURE file formats film material film scanners film stock filters folders frame rate grading systems image data image’s interpolation key numbers layers light luminance match method monitor motion noise NTSC number of different offline edit options original output pan and scan paradigm parameters particular photographic film picture pixels playback possible problems production recorded reel of film rendering require resized resolution result RGB color space scanner scene sequence shooting shot specific speed storage devices stored techniques telecine timecode tion track typically usually video formats video signal video tape