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High Definition Postproduction

Book Description

* Real-world postproduction paths show how it's being done today
* Numerous HD tables clear up what format is used for which purpose
* Ample information on HDV
* Debunks myths and answers common questions about HD

Avoid costly missteps in postproduction and get it right the first time with this book. Written by an in-the-trenches professional who works with HD every day, High Definition Postproduction is an overview of this exciting opportunity for film and video production and postproduction professionals. High Definition production and editing is here and definitely a reality. High-def network shows are aired on a weekly basis. Several HD-only channels are well into their production schedules. HD is even used for major film productions and post production processes. However, unlike the existing 4x3, NTSC format, the HD world has many variables. This ability to choose various frame rates, frame sizes, bit rates, and color space options makes this an exciting, yet somewhat daunting challenge. The future may hold even more options as electronics continue to evolve and manufactures continue to exploit this format. Naturally, all of these options can lead to confusion and errors.

This book begins with an overview of the HD format and then covers commonly-asked questions. A chapter on shooting details how to smooth the path for post. Postproduction workflows, including the digital intermediate, are covered in great detail, and are enhanced by real-world examples.

From HDV to the high-end cameras used in Star Wars and Sin City, this book is your complete guide to HD.

Table of Contents

  1. Cover
  2. Halftitle
  3. Title
  4. Copyright
  5. Contents
  6. Dedication
  7. Acknowledgments
  8. Introduction
  9. 1. High Definition—A Multi-Format Video
    1. Why This Book Exists
    2. High Definition is Settling Down and Growing Up
      1. High Definition Size
      2. Delivery Determines Production Format
      3. History
    3. A Typical Family
      1. The “Universal” Format
      2. Even More Choices and Confusion
    4. High Definition is Not New
    5. Government Gives Additional Channels for Television Stations
    6. HDV Excitement
    7. Europe Heads Into HD Land
    8. More United States Government Mandates
    9. Digital Broadcasting is Not Necessarily HD
    10. Why Digital Broadcasting is So Important to the Government
    11. Broadcast Formats
    12. High Definition Decoder/Tuner
    13. HD is a Series of Formats
    14. Formats Keep Arriving
    15. Chapter One Summary
  10. 2. What Is High Definition?
    1. Frame Rate
    2. Frame Recording Method
      1. Contrast Between Progressive and Interlaced
    3. Bit Depth
    4. Chroma Subsampling
    5. Compression
    6. Putting It Together
      1. The Production Choice
      2. Mixing SD and HD
      3. High Definition Production Choice Summary
    7. Everything is Changing
    8. When HD is Not True HD: Uprezing Video to HD
    9. Budget Considerations
    10. Computer File Size for High Definition Video
    11. Conversion Problems
      1. True Versus Converted Frames
    12. How to Choose an HD Format for a Particular Show
      1. Offline/Online Edit System Compatibility
      2. Nonlinear Editors With No Frame Rate Restrictions
    13. HD is Looking Good
      1. Lossy Versus Lossless Compression
    14. Shoot, Edit, and Deliver at One Frame Rate—What a Concept
    15. Chapter Two Summary
    16. High Definition Production Choice Summary
  11. 3. Myths and Questions About HD
    1. Can HD Be Seen on a Regular Television?
    2. Why Are There So Many High Definition Frame Rates?
    3. Why Did Congress Delay Turning Off the NTSC Broadcast Channels?
    4. Is Digital TV HD?
    5. Is Uncompressed the Best Way to Shoot HD?
    6. Is HD Digital TV?
    7. Do Television Stations Always Broadcast the Same Signal on Their Digital and Analog Channels?
    8. Is HDV the Same Quality as HD?
    9. Is High Definition Recorded the Same Way on All HD Machines?
    10. Is HD Used for Film Production?
    11. Are High Definition Images Always Used in the Digital Intermediate Process?
    12. Doesn’t Film Have More Resolution Than HD?
    13. Isn’t HD Just Like NTSC Only Wider and With More Detail?
    14. Is It True That a High Definition Frame Contains Much More Information Than an NTSC (Standard Definition) Frame?
    15. Is HD Going to Replace Film?
    16. Is HD Going to Replace SD?
    17. Is HD the Best Format?
    18. Is Any HD Recording High Definition?
    19. Do Progressive Frames Have More Visual Quality Than Interlaced Frames?
    20. Will I Always Receive the Same High Definition Quality Images on My High Definition Television Set?
    21. Chapter Three Summary
  12. 4. More on the Technical Side
    1. Frame Rates
      1. 1080psf23.98
      2. 1080i59.94 (a.k.a. 1080i29.97)
      3. 1080p24, 720p24, 720p23.98, and 1080psf23.98
      4. 720p59.94
      5. 1080psf29.97
      6. Integer Frame Rates
    2. Mbps
    3. Throughput Needs
      1. All Compressions Are Not Equal
      2. More Compression in Broadcasting
    4. Rapid Camera Development
    5. Editing Systems
      1. Single Editor—Single System
      2. Medium-Scale Access and Post Challenges
      3. Hardware Acceleration
      4. Codecs
      5. Linear Online Editing
    6. Chapter Four Summary
  13. 5. Preparing for and Shooting in High Definition
    1. The Video Village
    2. Tube Versus Flat Screen
    3. Standard Definition Protection Framing
    4. Camera Lenses Are a Vital Aspect of Any Production
    5. Editing HDV
      1. HD 1080i59.94 Master With NTSC Media and a NTSC Delivery
      2. Mixing SD (NTSC 29.97) With HD 23.98 Master NTSC 29.97 Delivery Frame Rate
      3. Tape Versus Optical Disk or Solid State Media
      4. Recording Media to Disk
      5. Infinity Camera—Non-Tape Storage With Several Options
    6. Delivery Requirements
    7. Motion Effects and Alternative Frame Rates/Sizes—Change Tapes
    8. 23.98 is Not 24; 29.97 is Not 30 But Could Be 59.94i or 29.97p
    9. Camera and Record Deck Consideration—Testing and Monitoring
    10. Keeping Updated Via Email
    11. Editorial Equipment Consideration
    12. Tape Labeling in the Field
    13. Audio Concerns
    14. Heads and Tails
    15. Makeup
    16. Slates, Tape Logs, Clapsticks
      1. Slating
      2. Clapsticks
    17. Lighting
    18. Camera Movement
      1. 23.98 Speed of Camera Movement
    19. Time of Day Versus Continuous Run Time Code
    20. Graphics
    21. Delivery Issues
    22. Dolby 5.1
    23. Chapter Five Summary
  14. 6. Real Postproduction Paths
    1. That Guy
      1. HD Shoot, HD Edit, HD Finish
    2. Super Bowl Feature Film Commercial—Example One
      1. Film Origination, HD Edit, and Delivery
    3. Let Me Count the Ways
      1. HD Production, HD Post, HD Delivery
    4. Super Bowl Feature Film Commercial—Example Two
      1. Film Origination, HD Edit, and Delivery
    5. American Idol
    6. Dane Cook’s Tourgasm
    7. HDV Production, HD Post, HD Delivery
    8. Staring at the Sun
      1. Film Production, HD Post, Film Delivery
    9. Kidney Thieves
      1. Film Production, HD Post, HD Delivery
    10. Unnamed HD DVD Project
      1. HD Production, HD Post, HD Delivery
    11. Kevin Smith
      1. HD Production, HD Post, HD Delivery
    12. A Place to Rest My Head
      1. HDV Production, HDV Post, HD Delivery
    13. Top Secret Project
      1. HD Production, HD Post, HD Delivery
    14. Every Network Has Its Own Rules
  15. 7. Other Editing Issues
    1. Viewing HD
      1. LCD Monitors
      2. Plasma Screens
      3. DLP Monitors
    2. Time Code Display from High Definition Decks
    3. Understanding Different Aspect Ratios in SD
    4. Edit System Compatibility
    5. The Preload
    6. Testing Workflow and Media Accuracy
    7. Edit System Updates
    8. Intermediate Codecs Versus “Native” Editing
    9. Data Management
      1. Data Protection
    10. Mixing Frame Rates
      1. Fixing It Yourself
      2. Credit Rolls in the 23.98 Frame Rate
      3. Organization and Data Protection
    11. Time Management
    12. Politics
    13. The Newest Fad
    14. Connections
    15. Keeping It Simple
    16. Chapter Seven Summary
  16. 8. HD, Film, and Digital Intermediates
    1. HD for Feature Film
    2. The Details
      1. Shoot HD, Edit Offline, Conform HD, Enter DI, Output Film
      2. Shoot Film, Edit Offline, Cut Film Negative, Enter DI, Output Film
      3. LUTs
      4. Not to Be Taken Lightly
    3. The Video Versus Film Gap
    4. Film is Not a Good Duplication Medium
    5. The End of Film?
    6. Chapter Eight Summary
  17. 9. Employment Opportunities and New Horizons
    1. On the Horizon
      1. Future Sales of Today’s Productions
      2. High Def Will Be the Norm
  18. 10. Steve Browne’s Personal Summary
    1. HDV Works!
  19. A Few HD Connections
    1. FireWire
    2. HD-SDI
    3. DVI
    4. HDMI
    5. USB 2.0
    6. Ethernet
  20. Glossary
  21. Index