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. High Definition—A Multi-Format Video
- Why This Book Exists
- High Definition is Settling Down and Growing Up
- A Typical Family
- High Definition is Not New
- Government Gives Additional Channels for Television Stations
- HDV Excitement
- Europe Heads Into HD Land
- More United States Government Mandates
- Digital Broadcasting is Not Necessarily HD
- Why Digital Broadcasting is So Important to the Government
- Broadcast Formats
- High Definition Decoder/Tuner
- HD is a Series of Formats
- Formats Keep Arriving
- Chapter One Summary
2. What Is High Definition?
- Frame Rate
- Frame Recording Method
- Bit Depth
- Chroma Subsampling
- Putting It Together
- Everything is Changing
- When HD is Not True HD: Uprezing Video to HD
- Budget Considerations
- Computer File Size for High Definition Video
- Conversion Problems
- How to Choose an HD Format for a Particular Show
- HD is Looking Good
- Shoot, Edit, and Deliver at One Frame Rate—What a Concept
- Chapter Two Summary
- High Definition Production Choice Summary
3. Myths and Questions About HD
- Can HD Be Seen on a Regular Television?
- Why Are There So Many High Definition Frame Rates?
- Why Did Congress Delay Turning Off the NTSC Broadcast Channels?
- Is Digital TV HD?
- Is Uncompressed the Best Way to Shoot HD?
- Is HD Digital TV?
- Do Television Stations Always Broadcast the Same Signal on Their Digital and Analog Channels?
- Is HDV the Same Quality as HD?
- Is High Definition Recorded the Same Way on All HD Machines?
- Is HD Used for Film Production?
- Are High Definition Images Always Used in the Digital Intermediate Process?
- Doesn’t Film Have More Resolution Than HD?
- Isn’t HD Just Like NTSC Only Wider and With More Detail?
- Is It True That a High Definition Frame Contains Much More Information Than an NTSC (Standard Definition) Frame?
- Is HD Going to Replace Film?
- Is HD Going to Replace SD?
- Is HD the Best Format?
- Is Any HD Recording High Definition?
- Do Progressive Frames Have More Visual Quality Than Interlaced Frames?
- Will I Always Receive the Same High Definition Quality Images on My High Definition Television Set?
- Chapter Three Summary
4. More on the Technical Side
- Frame Rates
- Throughput Needs
- Rapid Camera Development
- Editing Systems
- Chapter Four Summary
5. Preparing for and Shooting in High Definition
- The Video Village
- Tube Versus Flat Screen
- Standard Definition Protection Framing
- Camera Lenses Are a Vital Aspect of Any Production
- Editing HDV
- Delivery Requirements
- Motion Effects and Alternative Frame Rates/Sizes—Change Tapes
- 23.98 is Not 24; 29.97 is Not 30 But Could Be 59.94i or 29.97p
- Camera and Record Deck Consideration—Testing and Monitoring
- Keeping Updated Via Email
- Editorial Equipment Consideration
- Tape Labeling in the Field
- Audio Concerns
- Heads and Tails
- Slates, Tape Logs, Clapsticks
- Camera Movement
- Time of Day Versus Continuous Run Time Code
- Delivery Issues
- Dolby 5.1
- Chapter Five Summary
6. Real Postproduction Paths
- That Guy
- Super Bowl Feature Film Commercial—Example One
- Let Me Count the Ways
- Super Bowl Feature Film Commercial—Example Two
- American Idol
- Dane Cook’s Tourgasm
- HDV Production, HD Post, HD Delivery
- Staring at the Sun
- Kidney Thieves
- Unnamed HD DVD Project
- Kevin Smith
- A Place to Rest My Head
- Top Secret Project
- Every Network Has Its Own Rules
7. Other Editing Issues
- Viewing HD
- Time Code Display from High Definition Decks
- Understanding Different Aspect Ratios in SD
- Edit System Compatibility
- The Preload
- Testing Workflow and Media Accuracy
- Edit System Updates
- Intermediate Codecs Versus “Native” Editing
- Data Management
- Mixing Frame Rates
- Time Management
- The Newest Fad
- Keeping It Simple
- Chapter Seven Summary
- 8. HD, Film, and Digital Intermediates
- 9. Employment Opportunities and New Horizons
- 10. Steve Browne’s Personal Summary
- A Few HD Connections
- Title: High Definition Postproduction
- Release date: July 2013
- Publisher(s): Routledge
- ISBN: 9781136067334
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