By Jack James
The electronic Intermediate approach (DI), or conversion of movie to electronic bits after which again to movie back, has nice power to revolutionize the postproduction method. The ability set to photochemically method a film and dad it right into a canister for the postal provider to ship round to all the motion picture homes and the ability set to digitally grasp and create a dossier that's dispensed globally through the web and satellites are totally different. the sort of completely new approaches is that of the electronic intermediate. The DI has super benefits, starting from more suitable caliber (first ''print'' is pretty much as good because the final) to price reductions (no re-mastering) to electronic distribution (bits and bytes: no movie in canisters). The DI impacts every little thing from on set construction to the supply of content material to shoppers and every little thing in among. electronic Intermediates for movie and Video teaches the basic techniques and workflow of the electronic intermediate approach. Covers fundamentals of movie first, after which introduces the electronic world--including an educational on electronic photos, asset administration, on-line modifying, colour correction, recovery, movie and video output, studying and quality controls. Jack's transparent and easy-to-follow explainiation of Hollywood buzz phrases and parts allows the spill over to an individual who has a vested curiosity within the caliber and price of the motion picture. * the 1st broadcast-quality electronic intermediate strategy used to be made merely 3 years ago--25% of all movies made in 2004 will wade through the process--and this is often the 1st publication in regards to the procedure! * Author's paintings on HBO's Band of Brothers confirmed the average * ebook assumes no electronic creation knowledge--packed with jargon busters and ''ready reference'' charts
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Extra info for Digital Intermediates for Film and Video
For instance, both the 1080p30 and 1080i50 formats have 1080 lines of picture (and unlike SD formats, all the lines are used for image information). FIGURE 2-4 An image at HD resolution (top) and an equivalent SD resolution image. © 2005 Andrew Francis 5 The horizontal resolution of a video image is determined by part of the signal, the “subcarrier” frequency, which also is determined by the video standard. 6 DIGITAL INTERMEDIATES FOR FILM AND VIDEO TEMPORAL FREQUENCY Like most moving picture media, video gives the illusion of motion by showing multiple images in rapid succession.
11 The exact method of reducing the color components is a function of the camera, which may use sophisticated sampling techniques or may introduce color artifacts. qxd 09/14/05 10:49 AM Page 34 34 DIGITAL INTERMEDIATES FOR FILM AND VIDEO In addition, some video formats further reduce bandwidth requirements by discarding some of the spatial information, which means reducing the stored resolution. , duplicated or blended) to fill the display, again resulting in an inferior-quality image. Refer to the Appendix for the compression levels of the most common video formats.
So rather than having a single light detector, video cameras have a grid (or “array”) of them. Provided there are enough elements in the grid, a detailed gray scale image can be formed. And, as before, the image constantly updates over time, resulting in the formation of a moving image. To record a color image, the light received must be separated into spectral components (typically red, green, and blue—RGB—which recombine to form white)—for example, by splitting the incoming 1 The photoelectric effect is one where light hitting certain materials produces an electrical current.