- •CONTENTS
- •INTRODUCTION
- •1 Getting Started
- •Better, Cheaper, Easier
- •Who This Book Is For
- •What Kind of Digital Film Should You Make?
- •2 Writing and Scheduling
- •Screenwriting
- •Finding a Story
- •Structure
- •Writing Visually
- •Formatting Your Script
- •Writing for Television
- •Writing for “Unscripted”
- •Writing for Corporate Projects
- •Scheduling
- •Breaking Down a Script
- •Choosing a Shooting Order
- •How Much Can You Shoot in a Day?
- •Production Boards
- •Scheduling for Unscripted Projects
- •3 Digital Video Primer
- •What Is HD?
- •Components of Digital Video
- •Tracks
- •Frames
- •Scan Lines
- •Pixels
- •Audio Tracks
- •Audio Sampling
- •Working with Analog or SD Video
- •Digital Image Quality
- •Color Sampling
- •Bit Depth
- •Compression Ratios
- •Data Rate
- •Understanding Digital Media Files
- •Digital Video Container Files
- •Codecs
- •Audio Container Files and Codecs
- •Transcoding
- •Acquisition Formats
- •Unscientific Answers to Highly Technical Questions
- •4 Choosing a Camera
- •Evaluating a Camera
- •Image Quality
- •Sensors
- •Compression
- •Sharpening
- •White Balance
- •Image Tweaking
- •Lenses
- •Lens Quality
- •Lens Features
- •Interchangeable Lenses
- •Never Mind the Reasons, How Does It Look?
- •Camera Features
- •Camera Body Types
- •Manual Controls
- •Focus
- •Shutter Speed
- •Aperture Control
- •Image Stabilization
- •Viewfinder
- •Interface
- •Audio
- •Media Type
- •Wireless
- •Batteries and AC Adaptors
- •DSLRs
- •Use Your Director of Photography
- •Accessorizing
- •Tripods
- •Field Monitors
- •Remote Controls
- •Microphones
- •Filters
- •All That Other Stuff
- •What You Should Choose
- •5 Planning Your Shoot
- •Storyboarding
- •Shots and Coverage
- •Camera Angles
- •Computer-Generated Storyboards
- •Less Is More
- •Camera Diagrams and Shot Lists
- •Location Scouting
- •Production Design
- •Art Directing Basics
- •Building a Set
- •Set Dressing and Props
- •DIY Art Direction
- •Visual Planning for Documentaries
- •Effects Planning
- •Creating Rough Effects Shots
- •6 Lighting
- •Film-Style Lighting
- •The Art of Lighting
- •Three-Point Lighting
- •Types of Light
- •Color Temperature
- •Types of Lights
- •Wattage
- •Controlling the Quality of Light
- •Lighting Gels
- •Diffusion
- •Lighting Your Actors
- •Interior Lighting
- •Power Supply
- •Mixing Daylight and Interior Light
- •Using Household Lights
- •Exterior Lighting
- •Enhancing Existing Daylight
- •Video Lighting
- •Low-Light Shooting
- •Special Lighting Situations
- •Lighting for Video-to-Film Transfers
- •Lighting for Blue and Green Screen
- •7 Using the Camera
- •Setting Focus
- •Using the Zoom Lens
- •Controlling the Zoom
- •Exposure
- •Aperture
- •Shutter Speed
- •Gain
- •Which One to Adjust?
- •Exposure and Depth of Field
- •White Balancing
- •Composition
- •Headroom
- •Lead Your Subject
- •Following Versus Anticipating
- •Don’t Be Afraid to Get Too Close
- •Listen
- •Eyelines
- •Clearing Frame
- •Beware of the Stage Line
- •TV Framing
- •Breaking the Rules
- •Camera Movement
- •Panning and Tilting
- •Zooms and Dolly Shots
- •Tracking Shots
- •Handholding
- •Deciding When to Move
- •Shooting Checklist
- •8 Production Sound
- •What You Want to Record
- •Microphones
- •What a Mic Hears
- •How a Mic Hears
- •Types of Mics
- •Mixing
- •Connecting It All Up
- •Wireless Mics
- •Setting Up
- •Placing Your Mics
- •Getting the Right Sound for the Picture
- •Testing Sound
- •Reference Tone
- •Managing Your Set
- •Recording Your Sound
- •Room Tone
- •Run-and-Gun Audio
- •Gear Checklist
- •9 Shooting and Directing
- •The Shooting Script
- •Updating the Shooting Script
- •Directing
- •Rehearsals
- •Managing the Set
- •Putting Plans into Action
- •Double-Check Your Camera Settings
- •The Protocol of Shooting
- •Respect for Acting
- •Organization on the Set
- •Script Supervising for Scripted Projects
- •Documentary Field Notes
- •What’s Different with a DSLR?
- •DSLR Camera Settings for HD Video
- •Working with Interchangeable Lenses
- •What Lenses Do I Need?
- •How to Get a Shallow Depth of Field
- •Measuring and Pulling Focus
- •Measuring Focus
- •Pulling Focus
- •Advanced Camera Rigging and Supports
- •Viewing Video on the Set
- •Double-System Audio Recording
- •How to Record Double-System Audio
- •Multi-Cam Shooting
- •Multi-Cam Basics
- •Challenges of Multi-Cam Shoots
- •Going Tapeless
- •On-set Media Workstations
- •Media Cards and Workflow
- •Organizing Media on the Set
- •Audio Media Workflow
- •Shooting Blue-Screen Effects
- •11 Editing Gear
- •Setting Up a Workstation
- •Storage
- •Monitors
- •Videotape Interface
- •Custom Keyboards and Controllers
- •Backing Up
- •Networked Systems
- •Storage Area Networks (SANs) and Network-Attached Storage (NAS)
- •Cloud Storage
- •Render Farms
- •Audio Equipment
- •Digital Video Cables and Connectors
- •FireWire
- •HDMI
- •Fibre Channel
- •Thunderbolt
- •Audio Interfaces
- •Know What You Need
- •12 Editing Software
- •The Interface
- •Editing Tools
- •Drag-and-Drop Editing
- •Three-Point Editing
- •JKL Editing
- •Insert and Overwrite Editing
- •Trimming
- •Ripple and Roll, Slip and Slide
- •Multi-Camera Editing
- •Advanced Features
- •Organizational Tools
- •Importing Media
- •Effects and Titles
- •Types of Effects
- •Titles
- •Audio Tools
- •Equalization
- •Audio Effects and Filters
- •Audio Plug-In Formats
- •Mixing
- •OMF Export
- •Finishing Tools
- •Our Software Recommendations
- •Know What You Need
- •13 Preparing to Edit
- •Organizing Your Media
- •Create a Naming System
- •Setting Up Your Project
- •Importing and Transcoding
- •Capturing Tape-based Media
- •Logging
- •Capturing
- •Importing Audio
- •Importing Still Images
- •Moving Media
- •Sorting Media After Ingest
- •How to Sort by Content
- •Synchronizing Double-System Sound and Picture
- •Preparing Multi-Camera Media
- •Troubleshooting
- •14 Editing
- •Editing Basics
- •Applied Three-Act Structure
- •Building a Rough Cut
- •Watch Everything
- •Radio Cuts
- •Master Shot—Style Coverage
- •Editing Techniques
- •Cutaways and Reaction Shots
- •Matching Action
- •Matching Screen Position
- •Overlapping Edits
- •Matching Emotion and Tone
- •Pauses and Pull-Ups
- •Hard Sound Effects and Music
- •Transitions Between Scenes
- •Hard Cuts
- •Dissolves, Fades, and Wipes
- •Establishing Shots
- •Clearing Frame and Natural “Wipes”
- •Solving Technical Problems
- •Missing Elements
- •Temporary Elements
- •Multi-Cam Editing
- •Fine Cutting
- •Editing for Style
- •Duration
- •The Big Picture
- •15 Sound Editing
- •Sounding Off
- •Setting Up
- •Temp Mixes
- •Audio Levels Metering
- •Clipping and Distortion
- •Using Your Editing App for Sound
- •Dedicated Sound Editing Apps
- •Moving Your Audio
- •Editing Sound
- •Unintelligible Dialogue
- •Changes in Tone
- •Is There Extraneous Noise in the Shot?
- •Are There Bad Video Edits That Can Be Reinforced with Audio?
- •Is There Bad Audio?
- •Are There Vocal Problems You Need to Correct?
- •Dialogue Editing
- •Non-Dialogue Voice Recordings
- •EQ Is Your Friend
- •Sound Effects
- •Sound Effect Sources
- •Music
- •Editing Music
- •License to Play
- •Finding a Composer
- •Do It Yourself
- •16 Color Correction
- •Color Correction
- •Advanced Color Controls
- •Seeing Color
- •A Less Scientific Approach
- •Too Much of a Good Thing
- •Brightening Dark Video
- •Compensating for Overexposure
- •Correcting Bad White Balance
- •Using Tracks and Layers to Adjust Color
- •Black-and-White Effects
- •Correcting Color for Film
- •Making Your Video Look Like Film
- •One More Thing
- •17 Titles and Effects
- •Titles
- •Choosing Your Typeface and Size
- •Ordering Your Titles
- •Coloring Your Titles
- •Placing Your Titles
- •Safe Titles
- •Motion Effects
- •Keyframes and Interpolating
- •Integrating Still Images and Video
- •Special Effects Workflow
- •Compositing 101
- •Keys
- •Keying Tips
- •Mattes
- •Mixing SD and HD Footage
- •Using Effects to Fix Problems
- •Eliminating Camera Shake
- •Getting Rid of Things
- •Moving On
- •18 Finishing
- •What Do You Need?
- •Start Early
- •What Is Mastering?
- •What to Do Now
- •Preparing for Film Festivals
- •DIY File-Based Masters
- •Preparing Your Sequence
- •Color Grading
- •Create a Mix
- •Make a Textless Master
- •Export Your Masters
- •Watch Your Export
- •Web Video and Video-on-Demand
- •Streaming or Download?
- •Compressing for the Web
- •Choosing a Data Rate
- •Choosing a Keyframe Interval
- •DVD and Blu-Ray Discs
- •DVD and Blu-Ray Compression
- •DVD and Blu-Ray Disc Authoring
- •High-End Finishing
- •Reel Changes
- •Preparing for a Professional Audio Mix
- •Preparing for Professional Color Grading
- •Putting Audio and Video Back Together
- •Digital Videotape Masters
- •35mm Film Prints
- •The Film Printing Process
- •Printing from a Negative
- •Direct-to-Print
- •Optical Soundtracks
- •Digital Cinema Masters
- •Archiving Your Project
- •GLOSSARY
- •INDEX
The
Digital Filmmaking
Handbook
Fourth Edition
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The
Digital Filmmaking
Handbook
Fourth Edition
Sonja Schenk
Ben Long
Australia, Brazil, Japan, Korea, Mexico, Singapore, Spain, United Kingdom, United States
The Digital Filmmaking Handbook
Fourth Edition
Sonja Schenk and Ben Long
Publisher and General Manager,
Course Technology PTR: Stacy L. Hiquet
Associate Director of Marketing:
Sarah Panella
Manager of Editorial Services:
Heather Talbot
Marketing Manager: Jordan Castellani
Acquisitions Editor: Megan Belanger
Project Editor and Copy Editor: Marta Justak
Technical Reviewer: Ben Nilsson
Interior Layout Tech: Judy Littlefield
Cover Designer: Mike Tanamachi
Indexer: Valerie Haynes Perry
Proofreader: Sue Boshers
© 2012 Course Technology, a part of Cengage Learning.
ALL RIGHTS RESERVED. No part of this work covered by the copyright herein may be reproduced, transmitted, stored, or used in any form or by any means graphic, electronic, or mechanical, including but not limited to photocopying, recording, scanning, digitizing, taping, Web distribution, information networks, or information storage and retrieval systems, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without the prior written permission of the publisher.
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ISBN-13: 978-1-4354-5911-3
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Printed in the United States of America 1 2 3 4 5 6 7 13 12 11
ACKNOWLEDGMENTS
Many thanks to our editor, Marta Justak, for having the vision to take this book to the next level and to Judy Littlefield for making it a reality. Thank you to our technical editor, Ben Nilsson, for offering exceptional expertise and sharing his passion
for filmmaking. And a special thank you to our publisher, Stacy Hiquet, without whom this book would not exist.
Last, but not least, we’d like to thank the filmmakers who gave us their photos, their video clips and, most importantly, their stories: Alexandra Komisaruk, Regina Saisi, William MacCollum, Paquita Parks, and Jason Hampton.
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ABOUT THE AUTHORS
Sonja Schenk is a Los Angeles-based writer, director, and producer. As a filmmaker, she directed the feature-length comedy, The Olivia Experiment, and has written several screenplays. Her short films have been shown in film festivals and galleries across the country. Her producing credits include several prominent television series, including The Bachelor, High School Reunion, and others. She has edited scripted feature films shown at film festivals such as Sundance and documentaries for European and American television. She is also the author of an editing handbook, Digital Nonlinear Desktop Editing, and has
contributed many articles on filmmaking and technology to various publications.
Ben Long is a San Francisco-based photographer, videographer, and writer. The author of over a dozen books on digital photography and digital video, he has been a longtime contributor to many magazines, including MacWeek, MacUser, MacWorld UK,
and more. He is currently a senior contributing editor for Macworld magazine, a senior editor at CreativePro.com, and has created several photography instruction courses for Lynda.com. With experience in every aspect of video production, Long’s video clients have included Global Business Network, Blue Note Records, and 20th Century Fox. His videos have played around the world, on Broadway, and up and down the Hudson River accompanied by acclaimed musician Don Byron. He also dabbles in computer programming, and has written image editing utilities that are in use in the Smithsonian, the British Museum, and the White House.
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CONTENTS
1
2
INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . .xxiii
Getting Started . . . . . . . . . . . . . . . . . . . . . . . . .2
Better, Cheaper, Easier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Who This Book Is For . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 What Kind of Digital Film Should You Make? . . . . . . . . . . . . . . 8
Writing and Scheduling . . . . . . . . . . . . . . . . . .12
Screenwriting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Finding a Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Writing Visually . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Formatting Your Script . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Writing for Television . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Writing for “Unscripted” . . . . . . . . . . . . . . . . . . . . . . . . . 24 Writing for Corporate Projects . . . . . . . . . . . . . . . . . . . . . 25
Scheduling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 Breaking Down a Script. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Choosing a Shooting Order . . . . . . . . . . . . . . . . . . . . . . . 29 How Much Can You Shoot in a Day? . . . . . . . . . . . . . . . . 29 Production Boards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Scheduling for Unscripted Projects . . . . . . . . . . . . . . . . . 32
xContents
3
Digital Video Primer . . . . . . . . . . . . . . . . . . . .34
What Is HD? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Components of Digital Video . . . . . . . . . . . . . . . . . . . . . . . . . 36 Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Frames . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36 Scan Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Pixels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 Audio Tracks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Audio Sampling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Working with Analog or SD Video. . . . . . . . . . . . . . . . . . . . . . 43 Digital Image Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Color Sampling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47 Bit Depth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Compression Ratios . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 Data Rate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Understanding Digital Media Files . . . . . . . . . . . . . . . . . . . . . 49 Digital Video Container Files . . . . . . . . . . . . . . . . . . . . . . 50 Codecs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50 Audio Container Files and Codecs . . . . . . . . . . . . . . . . . 55 Transcoding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Acquisition Formats . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Unscientific Answers to Highly Technical Questions . . . . . . . . 58
4 Choosing a Camera . . . . . . . . . . . . . . . . . . . . . |
60 |
Evaluating a Camera . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61
Image Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Sensors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Compression. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65
Sharpening . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66
White Balance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Image Tweaking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68
Lenses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Lens Quality . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69
Lens Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Interchangeable Lenses . . . . . . . . . . . . . . . . . . . . . . . . . 71
Contents xi
Never Mind the Reasons, How Does It Look? . . . . . . . . . . . . . 72
Camera Features. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Camera Body Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Manual Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76
Shutter Speed. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77
Aperture Control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79
Image Stabilization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81
Viewfinder. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82
Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83
Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84
Media Type . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Wireless . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Batteries and AC Adaptors . . . . . . . . . . . . . . . . . . . . . . . 86
DSLRs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87
Use Your Director of Photography . . . . . . . . . . . . . . . . . . . . . 88
Accessorizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Tripods . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89
Field Monitors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Remote Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Microphones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90
All That Other Stuff . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
What You Should Choose . . . . . . . . . . . . . . . . . . . . . . . . . . . 91
5 Planning Your Shoot . . . . . . . . . . . . . . . . . . . . |
92 |
Storyboarding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93
Shots and Coverage . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95
Camera Angles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97
Computer-Generated Storyboards . . . . . . . . . . . . . . . . . 101
Less Is More . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104
Camera Diagrams and Shot Lists . . . . . . . . . . . . . . . . . . . . . 104
Location Scouting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108
xii Contents
Production Design. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112
Art Directing Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Building a Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113
Set Dressing and Props. . . . . . . . . . . . . . . . . . . . . . . . . 114
DIY Art Direction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114
Visual Planning for Documentaries . . . . . . . . . . . . . . . . . . . 116
Effects Planning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117
Creating Rough Effects Shots . . . . . . . . . . . . . . . . . . . . 119
6 Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . .120
Film-Style Lighting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121
The Art of Lighting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Three-Point Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . 122
Types of Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Color Temperature . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125
Types of Lights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Wattage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126
Controlling the Quality of Light . . . . . . . . . . . . . . . . . . . . . . . 129
Lighting Gels. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Diffusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Lighting Your Actors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132
Tutorial: Three-Point Lighting . . . . . . . . . . . . . . . . . . 132
Interior Lighting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Power Supply . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135
Mixing Daylight and Interior Light . . . . . . . . . . . . . . . . . 135
Using Household Lights . . . . . . . . . . . . . . . . . . . . . . . . 136
Exterior Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136
Enhancing Existing Daylight . . . . . . . . . . . . . . . . . . . . . 137
Video Lighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138
Low-Light Shooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139
Special Lighting Situations. . . . . . . . . . . . . . . . . . . . . . . . . . 139
Lighting for Video-to-Film Transfers . . . . . . . . . . . . . . . . 140
Lighting for Blue and Green Screen. . . . . . . . . . . . . . . . 140
Contents |
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7 Using the Camera . . . . . . . . . . . . . . . . . . . . . . . . . . |
.142 |
Setting Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 Using the Zoom Lens . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 Controlling the Zoom. . . . . . . . . . . . . . . . . . . . . . . . . . . 151 Exposure. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 Aperture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153 Shutter Speed. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154 Gain . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 Which One to Adjust? . . . . . . . . . . . . . . . . . . . . . . . . . . 157 Exposure and Depth of Field . . . . . . . . . . . . . . . . . . . . . 157 White Balancing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 Headroom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164 Lead Your Subject. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164 Following Versus Anticipating . . . . . . . . . . . . . . . . . . . . 167 Don’t Be Afraid to Get Too Close . . . . . . . . . . . . . . . . . . 167 Listen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 Eyelines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 Clearing Frame . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169 Beware of the Stage Line. . . . . . . . . . . . . . . . . . . . . . . . 169 TV Framing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169 Breaking the Rules . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170
Camera Movement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 Panning and Tilting . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 Zooms and Dolly Shots . . . . . . . . . . . . . . . . . . . . . . . . . 171 Tracking Shots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 Handholding. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171 Deciding When to Move . . . . . . . . . . . . . . . . . . . . . . . . 173
Shooting Checklist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174
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8
Production Sound . . . . . . . . . . . . . . . . . . . . .176
What You Want to Record . . . . . . . . . . . . . . . . . . . . . . . . . . 177 Microphones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 What a Mic Hears . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 How a Mic Hears . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Types of Mics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185 Connecting It All Up . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 Wireless Mics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 Setting Up. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 Placing Your Mics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 Getting the Right Sound for the Picture . . . . . . . . . . . . . 194 Testing Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 Reference Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 Managing Your Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 Recording Your Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 Room Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 Run-and-Gun Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 Gear Checklist. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199
9 Shooting and Directing . . . . . . . . . . . . . . . . . . . . . . . . |
200 |
The Shooting Script. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 Updating the Shooting Script. . . . . . . . . . . . . . . . . . . . . 202 Directing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202 Rehearsals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 Managing the Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 Putting Plans into Action . . . . . . . . . . . . . . . . . . . . . . . . . . . 205 Double-Check Your Camera Settings . . . . . . . . . . . . . . . 206 The Protocol of Shooting . . . . . . . . . . . . . . . . . . . . . . . . 206 Respect for Acting . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 Organization on the Set . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 Script Supervising for Scripted Projects . . . . . . . . . . . . . 208 Documentary Field Notes . . . . . . . . . . . . . . . . . . . . . . . 209
Contents xv
10 DSLRs and Other Advanced Shooting Situations . . . . . .210
What’s Different with a DSLR? . . . . . . . . . . . . . . . . . . . . . . . 211 DSLR Camera Settings for HD Video . . . . . . . . . . . . . . . . . . 214 Working with Interchangeable Lenses . . . . . . . . . . . . . . . . . 216 What Lenses Do I Need? . . . . . . . . . . . . . . . . . . . . . . . . 216 How to Get a Shallow Depth of Field . . . . . . . . . . . . . . . . . . 218 Measuring and Pulling Focus . . . . . . . . . . . . . . . . . . . . . . . 219 Measuring Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220 Pulling Focus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220 Advanced Camera Rigging and Supports. . . . . . . . . . . . . . . 221 Viewing Video on the Set . . . . . . . . . . . . . . . . . . . . . . . . . . . 224 Double-System Audio Recording . . . . . . . . . . . . . . . . . . . . . 227 How to Record Double-System Audio . . . . . . . . . . . . . . 229 Multi-Cam Shooting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 Multi-Cam Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231 Challenges of Multi-Cam Shoots . . . . . . . . . . . . . . . . . . 232 Going Tapeless . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 On-set Media Workstations . . . . . . . . . . . . . . . . . . . . . . 234 Media Cards and Workflow . . . . . . . . . . . . . . . . . . . . . . 234 Organizing Media on the Set . . . . . . . . . . . . . . . . . . . . . 235 Audio Media Workflow . . . . . . . . . . . . . . . . . . . . . . . . . 237 Shooting Blue-Screen Effects . . . . . . . . . . . . . . . . . . . . . . . 237
11 Editing Gear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .240
Setting Up a Workstation . . . . . . . . . . . . . . . . . . . . . . . . . . . 241
CPU . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
RAM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
Storage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242
Monitors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243
Videotape Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244
Custom Keyboards and Controllers . . . . . . . . . . . . . . . . 246
Backing Up . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246
Networked Systems. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Storage Area Networks (SANs) and Network-Attached
Storage (NAS) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Cloud Storage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
Render Farms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248
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Audio Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249
Digital Video Cables and Connectors . . . . . . . . . . . . . . . . . . 250
FireWire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
HDMI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
SDI and HD-SDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250
Fibre Channel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Thunderbolt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
RS-422. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Audio Interfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251
Know What You Need . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252
12 Editing Software . . . . . . . . . . . . . . . . . . . . . . . . . . . .254
The Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255
Editing Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256
Drag-and-Drop Editing . . . . . . . . . . . . . . . . . . . . . . . . 256
Three-Point Editing. . . . . . . . . . . . . . . . . . . . . . . . . . . 256
JKL Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257
Insert and Overwrite Editing . . . . . . . . . . . . . . . . . . . . 257
Trimming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258
Ripple and Roll, Slip and Slide . . . . . . . . . . . . . . . . . . 258
Multi-Camera Editing . . . . . . . . . . . . . . . . . . . . . . . . . 259
Advanced Features . . . . . . . . . . . . . . . . . . . . . . . . . . . 260
Organizational Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261
Importing Media. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262
Effects and Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Types of Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264
Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Audio Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266
Equalization. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
Audio Effects and Filters . . . . . . . . . . . . . . . . . . . . . . . 267
Audio Plug-In Formats . . . . . . . . . . . . . . . . . . . . . . . . 267
Mixing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267
OMF Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Finishing Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268
Our Software Recommendations . . . . . . . . . . . . . . . . . . . . 268
Know What You Need . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269
Contents |
xvii |
13 Preparing to Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
270 |
Organizing Your Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272
Create a Naming System. . . . . . . . . . . . . . . . . . . . . . . . 273
Setting Up Your Project . . . . . . . . . . . . . . . . . . . . . . . . . 274
Importing and Transcoding . . . . . . . . . . . . . . . . . . . . . . . . . 276
Capturing Tape-based Media. . . . . . . . . . . . . . . . . . . . . . . . 280
Logging. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280
Capturing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Importing Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282
Importing Still Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Moving Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284
Sorting Media After Ingest . . . . . . . . . . . . . . . . . . . . . . . . . . 285
How to Sort by Content . . . . . . . . . . . . . . . . . . . . . . . . . 286
Synchronizing Double-System Sound and Picture . . . . . . . . 286
Preparing Multi-Camera Media . . . . . . . . . . . . . . . . . . . . . . 288
Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288
14 Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .290
Editing Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291
Applied Three-Act Structure . . . . . . . . . . . . . . . . . . . . . 293
Building a Rough Cut . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293
Watch Everything . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
Radio Cuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294
Master Shot—Style Coverage . . . . . . . . . . . . . . . . . . . . 294
Tutorial: Creating a First Cut . . . . . . . . . . . . . . . . . . . 295
Editing Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305
Cutaways and Reaction Shots . . . . . . . . . . . . . . . . . . . . 305
Matching Action . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306
Matching Screen Position . . . . . . . . . . . . . . . . . . . . . . . 307
Overlapping Edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307
Matching Emotion and Tone . . . . . . . . . . . . . . . . . . . . . 308
Pauses and Pull-Ups . . . . . . . . . . . . . . . . . . . . . . . . . . 308
Hard Sound Effects and Music . . . . . . . . . . . . . . . . . . . 309
Tutorial: Refining Your Cut . . . . . . . . . . . . . . . . . . . . 309
xviii Contents
Transitions Between Scenes . . . . . . . . . . . . . . . . . . . . . . . . 311
Hard Cuts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311
Dissolves, Fades, and Wipes . . . . . . . . . . . . . . . . . . . . . 311
Establishing Shots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311
Clearing Frame and Natural “Wipes”. . . . . . . . . . . . . . . 312
Solving Technical Problems . . . . . . . . . . . . . . . . . . . . . . . . . 312
Missing Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Temporary Elements . . . . . . . . . . . . . . . . . . . . . . . . . . . 312
Multi-Cam Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313
Fine Cutting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Editing for Style. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314
Duration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
The Big Picture. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315
15 Sound Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .316
Sounding Off. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317 Setting Up. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318 Temp Mixes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319 Audio Levels Metering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320 Clipping and Distortion . . . . . . . . . . . . . . . . . . . . . . . . . 321 Using Your Editing App for Sound . . . . . . . . . . . . . . . . . . . . 321 Dedicated Sound Editing Apps . . . . . . . . . . . . . . . . . . . . . . 325 Moving Your Audio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 Editing Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328 Unintelligible Dialogue . . . . . . . . . . . . . . . . . . . . . . . . . 328 Changes in Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329 Is There Extraneous Noise in the Shot? . . . . . . . . . . . . . 329
Are There Bad Video Edits That Can Be Reinforced with Audio? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330
Is There Bad Audio? . . . . . . . . . . . . . . . . . . . . . . . . . . . 330 Are There Vocal Problems You Need to Correct? . . . . . . 330 Dialogue Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331 ADR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332 Non-Dialogue Voice Recordings . . . . . . . . . . . . . . . . . . 332 EQ Is Your Friend . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333
Sound Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336 Sound Effect Sources . . . . . . . . . . . . . . . . . . . . . . . . . . 337
Contents xix
Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337 Editing Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338 License to Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339 Finding a Composer . . . . . . . . . . . . . . . . . . . . . . . . . . . 340 Do It Yourself . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341
Fix It in the Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342
16 Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . .344
Color Correction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346 Advanced Color Controls . . . . . . . . . . . . . . . . . . . . . . . . 349 Seeing Color . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350 A Less Scientific Approach . . . . . . . . . . . . . . . . . . . . . . 353 Too Much of a Good Thing . . . . . . . . . . . . . . . . . . . . . . 354 Brightening Dark Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355 Compensating for Overexposure . . . . . . . . . . . . . . . . . . . . . 358 Correcting Bad White Balance. . . . . . . . . . . . . . . . . . . . . . . 360 Matching Footage from Different Cameras and Shoots . . . . . 361 Using Tracks and Layers to Adjust Color . . . . . . . . . . . . 362 Black-and-White Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . 362 Correcting Color for Film . . . . . . . . . . . . . . . . . . . . . . . . . . . 363 Making Your Video Look Like Film . . . . . . . . . . . . . . . . . . . . 363 One More Thing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
17 Titles and Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . |
366 |
Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367
Choosing Your Typeface and Size . . . . . . . . . . . . . . . . . 368
Ordering Your Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . 369
Coloring Your Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370
Placing Your Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370
Safe Titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371
Tutorial: Create Your Main Title . . . . . . . . . . . . . . . . . 372
Motion Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377
Keyframes and Interpolating . . . . . . . . . . . . . . . . . . . . . 377
Slow-Mo and Speed Ramps . . . . . . . . . . . . . . . . . . . . . 379
xx Contents
Integrating Still Images and Video . . . . . . . . . . . . . . . . . . . . 379
Special Effects Workflow . . . . . . . . . . . . . . . . . . . . . . . . . . . 380
Compositing 101. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383
Keys . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
Tutorial: Creating a Luminance Key. . . . . . . . . . . . . . 385
Tutorial: Using a Chroma Key . . . . . . . . . . . . . . . . . . 390
Keying Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394
Mattes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396
Mixing SD and HD Footage . . . . . . . . . . . . . . . . . . . . . . 398
Tutorial: Adding Camera Shake. . . . . . . . . . . . . . . . . 401
Using Effects to Fix Problems . . . . . . . . . . . . . . . . . . . . . . . 404
Eliminating Camera Shake . . . . . . . . . . . . . . . . . . . . . . 404
Getting Rid of Things . . . . . . . . . . . . . . . . . . . . . . . . . . 405
Moving On . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409
18 Finishing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .410
What Do You Need? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412 Start Early . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412 What Is Mastering? . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413 What to Do Now . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414 Preparing for Film Festivals . . . . . . . . . . . . . . . . . . . . . . . . . 414 DIY File-Based Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415 Preparing Your Sequence . . . . . . . . . . . . . . . . . . . . . . . 415 Color Grading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418 Create a Mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419 Make a Textless Master . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420 Export Your Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . 420 Watch Your Export . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421 Web Video and Video-on-Demand . . . . . . . . . . . . . . . . . . . . 422 Streaming or Download? . . . . . . . . . . . . . . . . . . . . . . . . 422 Compressing for the Web . . . . . . . . . . . . . . . . . . . . . . . 423 Choosing a Data Rate . . . . . . . . . . . . . . . . . . . . . . . . . . 425 Choosing a Keyframe Interval . . . . . . . . . . . . . . . . . . . . 425
Contents xxi
DVD and Blu-Ray Discs. . . . . . . . . . . . . . . . . . . . . . . . . . . . 426 DVD and Blu-Ray Compression. . . . . . . . . . . . . . . . . . . 428 DVD and Blu-Ray Disc Authoring . . . . . . . . . . . . . . . . . 430 High-End Finishing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432 Reel Changes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432 Preparing for a Professional Audio Mix . . . . . . . . . . . . . 433 Preparing for Professional Color Grading . . . . . . . . . . . . 434 Putting Audio and Video Back Together. . . . . . . . . . . . . 435 Digital Videotape Masters . . . . . . . . . . . . . . . . . . . . . . . . . . 435 35mm Film Prints . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437 The Film Printing Process . . . . . . . . . . . . . . . . . . . . . . . 438 Printing from a Negative . . . . . . . . . . . . . . . . . . . . . . . . 438 Direct-to-Print . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439 Optical Soundtracks . . . . . . . . . . . . . . . . . . . . . . . . . . . 439 Digital Cinema Masters . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440 Archiving Your Project . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441
GLOSSARY . . . . . . . . . . . . . . . . . . . . . . . . . . .443
INDEX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .471
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