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ADVANCED POST
PRODUCTION
Final Exam
Review

RULE OF SIX p.19
1. Emotion
2. Story
3. Rhythm
4. Eye-trace
5. 2-D plane of screen
6. 3-D plane of action

Walter Murch, In The Blink of an Eye: A Perspective on Film Editing. Los Angeles: Silman-James Press, 1995

Digital TV

NETWORK HDTV
ABC 720/60p
FOX 720/60p
NBC 1080/30i
CBS 1080/30i

Chroma Sub-Sampling p.34-35
  Chroma sampling allows for a reduction of digital data with a limited
affect to visual integrity.
  Kind of like compression for the color difference signals.
  Human vision is less sensitive to color than brightness.
  4 : 2 : 2 - Y : Cr : Cb - for every four times luma is sampled, the color
difference signals are sampled only twice.
  In 4:2:2, Luma is sampled at 13.5Mhz, the color difference signals are
sampled at 6.75Mhz each.

YC YC YC YC YC Y YC Y YC Y Y Y
YC YC YC YC YC Y YC Y
YC Y Y Y

4:2:2 4:1:1
4:4:4
  IDENTIFY THE CHROMA SAMPLING STRUCTURE BY THE PICTURES

Avid Native File Format
  MXF – Material eXchange Format - .mxf
  Container file like QuickTime, that wraps media
embedded with a variety of codecs with additional
metadata like timecode.
  OP-Atom – Avid, P2 standardized in SMPTE 390M

  OP1a – XDCAM standardized SMPTE 378M

Principles of Color correction p.44

  Restoration - First   Adaptation- Second
–  Restore the original –  Overall consistency.
look of the scene. –  Dramatic Effect.
–  Maximize tonal range. –  Departing from realty.
–  Preserving reality.

Color Correction Groups

Primary – applies color Secondary - applies
corrections on every pixel color correction to a
in an image or specific region based on a
every pixel within a specific vector (color) or geographic
luma range. region (shape).

LUMA RANGE
•  HIGHLIGHTS
•  MIDTONES
•  SHADOWS

Restoration Workflow

  Open up the tonal range to provide the
greatest range of luminance.
–  AdjustSetup and Gain using waveform
monitor. Gama can be used to your
preference.
  Neutralize color casts or white balance
issues to ensure that colors are correct.
–  Use Hue offsets or auto correct balance.

Optical Printing

  Optical Printing –

–  An ANALOG photochemical process of
coping film negative onto new negative, for the
purpose of creating a visual effect.
–  Create fades, dissolves, blowups, and double
exposures for composites.

Film Scanning Sizes

Scanning “Rez” Full frame
4k 4,096 x 3,112
2k 2,048 x 1,556
Aspect Ratio 1.316

Reel Balancing
  The act of apportioning the footage between multiple 2000'
reels so that so that no reel has too little or too much film.
This helps to divide the film up into manageable portions for
audio post, distribution and projection.
  The LFOA or “Last Frame of Action” for each reel should be
a HARD cut - no music - with only ambience and no dialogue
near the cut. This way changeovers can be made without the
audience noticing.
  Often Reel One is short 600’ to accommodate trailers and
other material added by distributors.
  No reel to be longer than 2000'
  Try to avoid reels shorter than 400’
  Each Reel becomes it’s own sequence in the NLE.
  All Lists, exports and deliverables are done by individual reel.

LUT

L.U.T. = Look Up Table

Lists

  Assemble List or Negative Cut List
–  The E.D.L.
  Optical List
–  Indicates the effects and how to create them.
  Dupe List
–  Anything that needs to be copied or shown twice
  Pull List
–  Locates film for needed for digital scanning or negative
cutting.

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