Modern Post: Workflows and Techniques for Digital Filmmakers

326 Pages·2014·8.99 MB·English

by  Scott Arundale

Modern Post
Workflows and Techniques for
Digital Filmmakers
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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
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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 ................................................................... 5
1.1.4 Negative Assembly at the Lab ....................................................................... 7
1.1.5 Color Timing Using Printer Lights ............................................................... 8
1.1.6 Release Prints ................................................................................................. 8
1.2 Evolution of Video Editing ..................................................... 11
1.2.1 Early Offline Nonlinear Editing Systems .................................................... 12
1.2.2 Tape-to-Tape Onlines ................................................................................... 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 ..................................................................................... 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 ....................................................................... 35
2.1.7 Nonlinear Production ................................................................................... 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 ............................................................................ 45
2.3.2 Why Film Is the Look We Emulate ............................................................. 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 ................................................................... 55
2.5 Digital Cinema Cameras ....................................................... 57
2.5.1 History of Digital Cinema Cameras ............................................................ 57
2.5.2 Digital Cinema Technology ......................................................................... 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 .............................................................................................. 67
2.6.5 Technicolor Cinestyle .................................................................................. 67
2.6.6 Magic Lantern .............................................................................................. 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 .............................................................................................. 80
3.1.3 Digital Imaging Technician ......................................................................... 81
3.1.4 Data Management Tools .............................................................................. 83
3.2 Data Management in Practice ............................................... 85
3.2.1 Checksum Verification ................................................................................. 86
3.2.2 Shot Verification (against Script Supervisor Report) ................................... 87
3.2.3 Back-Up to Redundant Drives ..................................................................... 88
3.2.4 What Is a RAID? .......................................................................................... 88
3.2.5 LTO Tape Archive ........................................................................................ 90
3.2.6 Typical Hardware Required for Transfer ..................................................... 90
3.3 Digital Dailies ...................................................................... 93
3.3.1 The Function and Expectation of Dailies Historically................................. 93
3.3.2 Paradigm Shift in On-set Color Management.............................................. 94
3.3.3 On-set, Near Set or At the Lab? ................................................................... 94
3.3.4 Editorial Prep for Offline Dailies................................................................. 95
3.3.5 Dual-system sound and Syncing .................................................................. 96
3.3.6 Communicating Color Intent ....................................................................... 97
Contents ix
Part 4 Editing and Post-Production
4.1 Offline Editing .................................................................... 103
4.1.1 Steps Towards Locking a Picture ............................................................... 103
4.1.2 The Cutting Room ..................................................................................... 104
4.1.3 Equipment Rental vs. Purchase ................................................................. 105
4.1.4 Network Servers and Configuration .......................................................... 105
4.1.5 Storage Requirements and Data Rates ....................................................... 108
4.1.6 Monitoring Options ................................................................................... 110
4.1.7 Exhibition and Sharing Cuts and Previews ................................................ 111
4.1.8 Offsite Collaboration and the Cloud .......................................................... 114
4.1.9 Conversation with Music Video Director Daniel Iglesias .......................... 118
4.2 Online Conform .................................................................. 123
4.2.1 How Does Online Differ from Offline? ..................................................... 123
4.2.2 What Is a Conform? ................................................................................... 124
4.2.3 Proxies vs. Uncompressed Files ................................................................ 125
4.2.4 Generalized Online Workflows .................................................................. 125
4.2.5 Role of the Assistant Editor in Prep for Online ......................................... 125
4.3 Color Grading/Digital Intermediate (DI) ................................ 127
4.3.1 No Longer a “Digital Intermediate” .......................................................... 128
4.3.2 Why Not Color Correct in a Nonlinear Editor (NLE)? ............................. 129
4.3.3 Goals of Color Grading ............................................................................. 130
4.3.4 Working with a Colorist ............................................................................. 131
4.3.5 Supervised vs. Unsupervised Grading ....................................................... 133
4.3.6 Master Grading and Trim Passes ............................................................... 133
4.3.7 Case Study: Blackmagic Davinci Resolve ................................................. 133
4.3.8 Essential Colorspaces ................................................................................ 136
4.3.9 ACES Workflow ......................................................................................... 138
4.4 Dirt Fixes, Adding or Removing Grain and Noise ................... 143
4.4.1 Film Dust-Busting and Damage Removal ................................................. 143
4.4.2 Grain Matching and Addition for Effect .................................................... 144
4.4.3 Grain Management and Digital Noise Reduction (DNR) .......................... 144
Part 5 Visual Effects and Titles
5.1 Visual Effects .................................................................... 151
5.1.1 CGI and Compositing ................................................................................ 152
5.1.2 Animatics and Pre-Visualization ................................................................ 153
5.1.3 Green Screen, Compositing and Set-Extension ......................................... 154
5.1.4 Rig and Wire Removal ............................................................................... 157
5.1.5 Beauty Work .............................................................................................. 157
5.1.6 2K vs. 4K for Compositing and CGI ......................................................... 158
5.1.7 VFX Editorial............................................................................................. 159
5.1.8 VFX Color Management............................................................................ 161
5.1.9 VFX Integration in Color ........................................................................... 162
5.1.10 Conversation with Nancy St. John, VFX Producer .................................. 162