- •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
430 The Digital Filmmaking Handbook, 4E
DVD and Blu-Ray Disc Authoring
Once you’ve compressed your files, you’re ready to author the menus and interactivity that will form the interface for your DVD or Blu-ray Disc. Through special authoring software, you’ll use still images and short video clips to create the menus and interface for your disc, as well as establish how the user will navigate using their player’s remote control.
Many packages such as Apple’s DVD Studio Pro (Figure 18.8) include software MPEG-2 encoders, allowing you to buy a complete DVD authoring system for under $500. If you’re a Windows user, Adobe’s Encore is an excellent professional-level authoring tool. If you have the Apple Final Cut Studio or Adobe CS5 bundles, you already own DVD Studio Pro or Adobe Encore.
Figure 18.8
Apple’s DVD Studio Pro lets you author professional-quality DVD and Blu-ray videos, complete with menus and interactivity.
Chapter 18 n Finishing |
431 |
When creating your DVD or Blu-ray Disc, here are some technical tips to keep in mind:
nOptical discs are designed to play on both video and computer monitors. This means that they are susceptible to all the limitations of video. Unless you’re absolutely certain that your DVD or Blu-ray Disc will only play on a computer monitor (perhaps because it’s a corporate or industrial presentation that will be shown under controlled conditions), you’ll need to make sure your DVD interface uses only NTSC-safe colors, and that the buttons and text all fall within the standard title-safe area. Test your DVD or Blu-ray Disc on a video monitor before you publish it.
nPretty much all DVD or Blu-ray Disc players have a handheld remote control device, while computer-based DVD players include an equivalent virtual remote. Don’t forget to program interactivity for the remote as well as the on-screen menus.
nWhatever the size of your DVD or Blu-ray Disc, you’ll need to double that in computer storage space in order to create the disc. If your DVD is 4GB, you’ll need 4GB for the source materials for your compressed MPEG-2 video and 4GB for the rendered DVD files.
nBlu-ray Disc graphics should be created at 72dpi, with a pixel resolution of either 1920 1080 or 1280 720, depending on which type of HD you prefer.
nDVD graphics should be created at 72dpi, with a pixel resolution of 720 480 (for NTSC video). Remember that if you create menus and buttons in a square-pixel environment, like Photoshop, you should work with files that are 720 540, and then resize them to 720 480 when you’re ready to import them into your DVD authoring application.
If you plan on burning the disk yourself using a recordable DVD or Blu-ray Disc drive, then you’ll want to be sure that you buy the right type of media for authoring. Check the packaging and your disc burner’s manual to be certain.
If you plan to have your DVD or Blu-ray Disc mass produced by a professional replication house, then you should consult with them about the different capacities (and prices) that are available. If your final DVD or Blu-ray Disc will be a higher-capacity disk and you only have a single-layer burner (or no burner at all), you can still author the disk yourself. You’ll just have to write the final files to your hard drive and move the resulting files to the replication house when you’re ready to make the disk. Most authoring programs allow you to output to a disk image or to a hard drive. Check with your replicator to find out what media they can accept.
Pass the Buck
If all of this sounds too complicated, there are companies that will take your final video master and create a DVD or Blu-ray Disc for you. Services provided by these companies vary from simple MPEG compression to full mastering, including interface authoring.