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DIGITAL WORKFLOW

DIGITAL WORKFLOW. The Essential Reference Guide for Filmmakers. WHAT IS A DIGITAL INTERMEDIATE?. COMPARING DI TO THE TRADITIONAL LAB. BENEFITS OF DI. BENEFITS OF DI. DI process is non-linear

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DIGITAL WORKFLOW

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  1. DIGITAL WORKFLOW The Essential Reference Guide for Filmmakers

  2. WHAT IS A DIGITAL INTERMEDIATE?

  3. COMPARING DI TO THE TRADITIONAL LAB

  4. BENEFITS OF DI

  5. BENEFITS OF DI • DI process is non-linear • A DI is a series of digital files that can be sorted, indexed, tagged, viewed and manipulated in any order • This allows you to access any point in the project quickly and easily

  6. BENEFITS OF DI • Full editorial control • Auto-conform from an updated EDL • Make manual edits to the DI by duplicating, moving, replacing or removing frames • Adjust the timing of cuts and transitions • Last minute changes are possible due to the flexibility

  7. BENEFITS OF DI • Digital color grading • Provides unprecedented control over your work • Creating a look or mood • Manipulating colors and objects in a scene • Painting, retouching and fixing images • Emulating lighting • Emulating camera filters and lab processing techniques

  8. BENEFITS OF DI • Computer-generated effects • Better interchangeability with computer-generated material • Effects shots can be fed into the DI pipeline at various stages for feedback and approval • The completed files are color graded and integrated into the DI

  9. BENEFITS OF DI • Visual effects and transitions • Wipes, fades and dissolves • Cropping, resizing and repositioning images • Freeze-frames • Titles and text

  10. BENEFITS OF DI • Image restoration and repair • Scratch and dirt removal • Digital painting and retouching • Image sharpening and blurring • Reduction or increase in grain

  11. BENEFITS OF DI • Instant feedback • The DI environment is interactive • Ability to view changes as they are made • Instant feedback provides greater freedom

  12. BENEFITS OF DI • Preserve the original camera negative • The DI helps to protect the original negative • The neg only has to be scanned once • The intact, uncut original negative can be archived

  13. POST HOUSE CONTACTS • Account Executive / Bidding Producer • Producer / Scheduler • Post-Production Supervisor / Digital Effects Supervisor • Editor • Colorist

  14. POST HOUSE CONTACTS • Account Executive / Bidding Producer • Producer / Scheduler • Post-Production Supervisor / Digital Effects Supervisor • Editor • Colorist

  15. POST HOUSE CONTACTS • Account Executive / Bidding Producer • Producer / Scheduler • Post-Production Supervisor / Digital Effects Supervisor • Editor • Colorist

  16. POST HOUSE CONTACTS • Account Executive / Bidding Producer • Producer / Scheduler • Post-production Supervisor / Digital Effects Supervisor • Editor • Colorist

  17. POST HOUSE CONTACTS • Account Executive / Bidding Producer • Producer / Scheduler • Post-Production Supervisor / Digital Effects Supervisor • Editor • Colorist

  18. INPUT: DATA TRANSFER

  19. INPUT: DIGITIZATION

  20. FILM SCANNING

  21. RGB COLOR SPACE

  22. COLOR CHANNELS

  23. SCAN RESOLUTION

  24. SCAN RESOLUTION CONSIDERATIONS • Some considerations when deciding on scan resolutions are: • The principal output medium • The look of the production • Budget • The most popular scan resolutions are 2K and 4K. • 2K = 2048 pixels wide, 12MB • 4K = 4096 pixels wide, 48MB

  25. DYNAMIC RANGE

  26. DPX Files

  27. COLOR MANAGEMENT • Two main goals • All displays must provide consistent color • What is seen on the displays is faithfully reproduced at final output

  28. CALIBRATION • Each device in post-production must be calibrated to ensure that all devices display the same image: • Film Scanners • Monitors • Digital Projectors • Film Recorder Calibration

  29. LOOK-UP TABLES • Look-up tables (LUTs) are used to adjust and accurately display the target output. • 1-Dimensional Lookup Table • 3-Dimensional Lookup table • LUTs provide feedback in real time and are used to implement: • Calibration corrections • Color corrections • Specific looks • Color space conversions

  30. IMAGE PROCESSING

  31. IMAGE PROCESSING • Editing • Digital Effects • Color Correction • Dust Busting • Sound Editing • Conforming • Digital Retouching • Color Grading • Masks • Metadata • Special Effects • Computer Generated Material • Film Recording • Video Mastering • Film Recording • Video Mastering

  32. IMAGE PROCESSING • Editing • Digital Effects • Color Correction • Dust Busting • Sound Editing • Conforming • Digital Retouching • Color Grading • Masks • Metadata • Special Effects • Computer Generated Material • Film Recording • Video Mastering

  33. IMAGE PROCESSING • Editing • Digital Effects • Color Correction • Dust Busting • Sound Editing • Conforming • Digital Retouching • Color Grading • Masks • Metadata • Special Effects • Computer Generated Material • Film Recording • Video Mastering

  34. IMAGE PROCESSING • Editing • Digital Effects • Color Correction • Dust Busting • Sound Editing • Conforming • Digital Retouching • Color Grading • Masks • Metadata • Special Effects • Computer Generated Material • Film Recording • Video Mastering

  35. IMAGE PROCESSING • Editing • Digital Effects • Color Correction • Dust Busting • Sound Editing • Conforming • Digital Retouching • Color Grading • Masks • Metadata • Special Effects • Computer Generated Material • Film Recording • Video Mastering

  36. IMAGE PROCESSING • Editing • Digital Effects • Color Correction • Dust Busting • Sound Editing • Conforming • Digital Retouching • Color Grading • Masks • Metadata • Special Effects • Computer Generated Material • Film Recording • Video Mastering

  37. IMAGE PROCESSING • Editing • Digital Effects • Color Correction • Dust Busting • Sound Editing • Conforming • Digital Retouching • Color Grading • Masks • Metadata • Special Effects • Computer Generated Material • Film Recording • Video Mastering

  38. IMAGE PROCESSING • Editing • Digital Effects • Color Correction • Dust Busting • Sound Editing • Conforming • Digital Retouching • Color Grading • Masks • Metadata • Special Effects • Computer Generated Material • Film Recording • Video Mastering

  39. IMAGE PROCESSING • Editing • Digital Effects • Color Correction • Dust Busting • Sound Editing • Conforming • Digital Retouching • Color Grading • Masks • Metadata • Special Effects • Computer Generated Material • Film Recording • Video Mastering

  40. IMAGE PROCESSING • Editing • Digital Effects • Color Correction • Dust Busting • Sound Editing • Conforming • Digital Retouching • Color Grading • Masks • Metadata • Special Effects • Computer Generated Material • Film Recording • Video Mastering

  41. IMAGE PROCESSING • Editing • Digital Effects • Color Correction • Dust Busting • Sound Editing • Conforming • Digital Retouching • Color Grading • Masks • Metadata • Special Effects • Computer Generated Material • Film Recording • Video Mastering

  42. IMAGE PROCESSING • Editing • Digital Effects • Color Correction • Dust Busting • Sound Editing • Conforming • Digital Retouching • Color Grading • Masks • Metadata • Special Effects • Computer Generated Material • Film Recording • Video Mastering

  43. IMAGE PROCESSING • Editing • Digital Effects • Color Correction • Dust Busting • Sound Editing • Conforming • Digital Retouching • Color Grading • Masks • Metadata • Special Effects • Computer Generated Material • Film Recording • Video Mastering

  44. IMAGE PROCESSING • Editing • Digital Effects • Color Correction • Dust Busting • Sound Editing • Conforming • Digital Retouching • Color Grading • Masks • Metadata • Special Effects • Computer Generated Material • Film Recording • Video Mastering

  45. OUTPUT • Digital Master • Video Output • Film Output • Digital Cinema

  46. DIGITAL MASTER • Film for release printing • Digital cinema • HD • SD • Blu-Ray • DVD • Content for the Web

  47. VIDEO OUTPUT • Frame Rate • Color Space • Aspect Ratio

  48. ASPECT RATIO

  49. FILM OUTPUT

  50. DIGITAL CINEMA

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