简介
* 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.
* 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
目录
Table Of Contents:
Dedication v
Acknowledgments xiii
Introduction xv
High Definition---A Multi-Format Video 1(26)
Why This Book Exists 1(3)
High Definition is Settling Down and Growing Up 4(1)
High Definition Size 4(1)
Delivery Determines Production Format 4(1)
History 5(1)
A Typical Family 5(5)
The ``Universal'' Format 8(1)
Even More Choices and Confusion 9(1)
High Definition is Not New 10(5)
Government Gives Additional Channels for Television Stations 15(1)
HDV Excitement 16(1)
Europe Heads Into HD Land 17(1)
More United States Government Mandates 18(1)
Digital Broadcasting is Not Necessarily HD 18(1)
Why Digital Broadcasting is So Important to the Government 19(1)
Broadcast Formats 20(1)
High Definition Decoder/Tuner 21(1)
HD is a Series of Formats 21(2)
Formats Keep Arriving 23(1)
Chapter One Summary 24(3)
What Is High Definition? 27(30)
Frame Rate 29(3)
Frame Recording Method 32(2)
Contrast Between Progressive and Interlaced 32(2)
Bit Depth 34(2)
Chroma Subsampling 36(2)
Compression 38(1)
Putting It Together 39(4)
The Production Choice 39(2)
Mixing SD and HD 41(2)
High Definition Production Choice Summary 43(1)
Everything is Changing 43(1)
When HD is Not True HD: Uprezing Video to HD 44(1)
Budget Considerations 45(1)
Computer File Size for High Definition Video 46(1)
Conversion Problems 46(1)
True Versus Converted Frames 47(1)
How to Choose an HD Format for a Particular Show 47(2)
Offline/Online Edit System Compatibility 48(1)
Nonlinear Editors With No Frame Rate Restrictions 49(1)
HD is Looking Good 49(2)
Lossy Versus Lossless Compression 49(2)
Shoot, Edit, and Deliver at One Frame Rate---What a Concept 51(1)
Chapter Two Summary 51(4)
High Definition Production Choice Summary 55(2)
Myths and Questions About HD 57(22)
Can HD Be Seen on a Regular Television? 59(2)
Why Are There So Many High Definition Frame Rates? 61(1)
Why Did Congress Delay Turning Off the NTSC Broadcast Channels? 62(1)
Is Digital TV HD? 63(1)
Is Uncompressed the Best Way to Shoot HD? 63(1)
Is HD Digital TV? 64(1)
Do Television Stations Always Broadcast the Same Signal on Their Digital and Analog Channels? 65(1)
Is HDV the Same Quality as HD? 65(1)
Is High Definition Recorded the Same Way on All HD Machines? 66(1)
Is HD Used for Film Production? 66(1)
Are High Definition Images Always Used in the Digital Intermediate Process? 67(1)
Doesn't Film Have More Resolution Than HD? 67(1)
Isn't HD Just Like NTSC Only Wider and With More Detail? 68(1)
Is It True That a High Definition Frame Contains Much More Information Than an NTSC (Standard Definition) Frame? 69(1)
Is HD Going to Replace Film? 69(2)
Is HD Going to Replace SD? 71(1)
Is HD the Best Format? 72(1)
Is Any HD Recording High Definition? 72(1)
Do Progressive Frames Have More Visual Quality Than Interlaced Frames? 73(2)
Will I Always Receive the Same High Definition Quality Images on My High Definition Television Set? 75(1)
Chapter Three Summary 75(4)
More on the Technical Side 79(22)
Frame Rates 79(4)
1080psf23.98 80(1)
1080i59.94 (a.k.a. 1080i29.97) 80(1)
1080p24, 720p24, 720p23.98, and 1080psf23.98 80(1)
720p59.94 81(1)
1080psf29.97 82(1)
Integer Frame Rates 82(1)
Mbps 83(2)
Throughput Needs 85(4)
All Compressions Are Not Equal 86(1)
More Compression in Broadcasting 86(3)
Rapid Camera Development 89(1)
Editing Systems 90(8)
Single Editor---Single System 91(1)
Medium-Scale Access and Post Challenges 92(1)
Hardware Acceleration 93(1)
Codecs 94(2)
Linear Online Editing 96(2)
Chapter Four Summary 98(3)
Preparing for and Shooting in High Definition 101(28)
The Video Village 102(1)
Tube Versus Flat Screen 103(1)
Standard Definition Protection Framing 103(1)
Camera Lenses Are a Vital Aspect of Any Production 104(2)
Editing HDV 106(7)
HD 1080i59.94 Master With NTSC Media and a NTSC Delivery 107(1)
Mixing SD (NTSC 29.97) With HD 23.98 Master NTSC 29.97 Delivery Frame Rate 107(2)
Tape Versus Optical Disk or Solid State Media 109(1)
Recording Media to Disk 110(1)
Infinity Camera---Non-Tape Storage With Several Options 111(2)
Delivery Requirements 113(1)
Motion Effects and Alternative Frame Rates/Sizes---Change Tapes 114(1)
23.98 is Not 24; 29.97 is Not 30 But Could Be 59.94i or 29.97p 115(1)
Camera and Record Deck Consideration---Testing and Monitoring 115(1)
Keeping Updated Via Email 116(1)
Editorial Equipment Consideration 116(1)
Tape Labeling in the Field 117(1)
Audio Concerns 117(1)
Heads and Tails 118(1)
Makeup 118(1)
Slates, Tape Logs, Clapsticks 118(2)
Slating 119(1)
Clapsticks 120(1)
Lighting 120(1)
Camera Movement 120(2)
23.98 Speed of Camera Movement 121(1)
Time of Day Versus Continuous Run Time Code 122(1)
Graphics 123(1)
Delivery Issues 123(2)
Dolby 5.1 125(1)
Chapter Five Summary 125(4)
Real Postproduction Paths 129(30)
That Guy 129(6)
HD Shoot, HD Edit, HD Finish 129(6)
Super Bowl Feature Film Commercial---Example One 135(7)
Film Origination, HD Edit, and Delivery 135(7)
Let Me Count the Ways 142(1)
HD Production, HD Post, HD Delivery 142(1)
Super Bowl Feature Film Commercial---Example Two 143(2)
Film Origination, HD Edit, and Delivery 143(2)
American Idol 145(1)
Dane Cook's Tourgasm 146(1)
HDV Production, HD Post, HD Delivery 146(3)
Staring at the Sun 149(2)
Film Production, HD Post, Film Delivery 149(2)
Kidney Thieves 151(1)
Film Production, HD Post, HD Delivery 151(1)
Unnamed HD DVD Project 152(1)
HD Production, HD Post, HD Delivery 152(1)
Kevin Smith 153(1)
HD Production, HD Post, HD Delivery 153(1)
A Place to Rest My Head 154(2)
HDV Production, HDV Post, HD Delivery 154(2)
Top Secret Project 156(1)
HD Production, HD Post, HD Delivery 156(1)
Every Network Has Its Own Rules 156(3)
Other Editing Issues 159(18)
Viewing HD 159(4)
LCD Monitors 161(1)
Plasma Screens 162(1)
DLP Monitors 162(1)
Time Code Display from High Definition Decks 163(1)
Understanding Different Aspect Ratios in SD 164(1)
Edit System Compatibility 165(2)
The Preload 167(1)
Testing Workflow and Media Accuracy 168(1)
Edit System Updates 168(1)
Intermediate Codecs Versus ``Native'' Editing 168(1)
Data Management 169(1)
Data Protection 170(1)
Mixing Frame Rates 170(2)
Fixing It Yourself 170(1)
Credit Rolls in the 23.98 Frame Rate 171(1)
Organization and Data Protection 172(1)
Time Management 172(1)
Politics 172(1)
The Newest Fad 173(1)
Connections 173(1)
Keeping It Simple 173(1)
Chapter Seven Summary 174(3)
HD, Film, and Digital Intermediates 177(12)
HD for Feature Film 180(1)
The Details 181(3)
Shoot HD, Edit Offline, Conform HD, Enter DI, Output Film 181(1)
Shoot Film, Edit Offline, Cut Film Negative, Enter DI, Output Film 182(2)
LUTs 184(1)
Not to Be Taken Lightly 184(1)
The Video Versus Film Gap 184(2)
Film is Not a Good Duplication Medium 186(1)
The End of Film? 186(1)
Chapter Eight Summary 187(2)
Employment Opportunities and New Horizons 189(4)
On the Horizon 190(3)
Future Sales of Today's Productions 191(1)
High Def Will Be the Norm 191(2)
Steve Browne's Personal Summary 193(2)
HDV Works! 194(1)
A Few HD Connections 195(4)
FireWire 195(1)
HD-SDI 196(1)
DVI 197(1)
HDMI 197(1)
USB 2.0 198(1)
Ethernet 198(1)
Glossary 199(22)
Index 221
Dedication v
Acknowledgments xiii
Introduction xv
High Definition---A Multi-Format Video 1(26)
Why This Book Exists 1(3)
High Definition is Settling Down and Growing Up 4(1)
High Definition Size 4(1)
Delivery Determines Production Format 4(1)
History 5(1)
A Typical Family 5(5)
The ``Universal'' Format 8(1)
Even More Choices and Confusion 9(1)
High Definition is Not New 10(5)
Government Gives Additional Channels for Television Stations 15(1)
HDV Excitement 16(1)
Europe Heads Into HD Land 17(1)
More United States Government Mandates 18(1)
Digital Broadcasting is Not Necessarily HD 18(1)
Why Digital Broadcasting is So Important to the Government 19(1)
Broadcast Formats 20(1)
High Definition Decoder/Tuner 21(1)
HD is a Series of Formats 21(2)
Formats Keep Arriving 23(1)
Chapter One Summary 24(3)
What Is High Definition? 27(30)
Frame Rate 29(3)
Frame Recording Method 32(2)
Contrast Between Progressive and Interlaced 32(2)
Bit Depth 34(2)
Chroma Subsampling 36(2)
Compression 38(1)
Putting It Together 39(4)
The Production Choice 39(2)
Mixing SD and HD 41(2)
High Definition Production Choice Summary 43(1)
Everything is Changing 43(1)
When HD is Not True HD: Uprezing Video to HD 44(1)
Budget Considerations 45(1)
Computer File Size for High Definition Video 46(1)
Conversion Problems 46(1)
True Versus Converted Frames 47(1)
How to Choose an HD Format for a Particular Show 47(2)
Offline/Online Edit System Compatibility 48(1)
Nonlinear Editors With No Frame Rate Restrictions 49(1)
HD is Looking Good 49(2)
Lossy Versus Lossless Compression 49(2)
Shoot, Edit, and Deliver at One Frame Rate---What a Concept 51(1)
Chapter Two Summary 51(4)
High Definition Production Choice Summary 55(2)
Myths and Questions About HD 57(22)
Can HD Be Seen on a Regular Television? 59(2)
Why Are There So Many High Definition Frame Rates? 61(1)
Why Did Congress Delay Turning Off the NTSC Broadcast Channels? 62(1)
Is Digital TV HD? 63(1)
Is Uncompressed the Best Way to Shoot HD? 63(1)
Is HD Digital TV? 64(1)
Do Television Stations Always Broadcast the Same Signal on Their Digital and Analog Channels? 65(1)
Is HDV the Same Quality as HD? 65(1)
Is High Definition Recorded the Same Way on All HD Machines? 66(1)
Is HD Used for Film Production? 66(1)
Are High Definition Images Always Used in the Digital Intermediate Process? 67(1)
Doesn't Film Have More Resolution Than HD? 67(1)
Isn't HD Just Like NTSC Only Wider and With More Detail? 68(1)
Is It True That a High Definition Frame Contains Much More Information Than an NTSC (Standard Definition) Frame? 69(1)
Is HD Going to Replace Film? 69(2)
Is HD Going to Replace SD? 71(1)
Is HD the Best Format? 72(1)
Is Any HD Recording High Definition? 72(1)
Do Progressive Frames Have More Visual Quality Than Interlaced Frames? 73(2)
Will I Always Receive the Same High Definition Quality Images on My High Definition Television Set? 75(1)
Chapter Three Summary 75(4)
More on the Technical Side 79(22)
Frame Rates 79(4)
1080psf23.98 80(1)
1080i59.94 (a.k.a. 1080i29.97) 80(1)
1080p24, 720p24, 720p23.98, and 1080psf23.98 80(1)
720p59.94 81(1)
1080psf29.97 82(1)
Integer Frame Rates 82(1)
Mbps 83(2)
Throughput Needs 85(4)
All Compressions Are Not Equal 86(1)
More Compression in Broadcasting 86(3)
Rapid Camera Development 89(1)
Editing Systems 90(8)
Single Editor---Single System 91(1)
Medium-Scale Access and Post Challenges 92(1)
Hardware Acceleration 93(1)
Codecs 94(2)
Linear Online Editing 96(2)
Chapter Four Summary 98(3)
Preparing for and Shooting in High Definition 101(28)
The Video Village 102(1)
Tube Versus Flat Screen 103(1)
Standard Definition Protection Framing 103(1)
Camera Lenses Are a Vital Aspect of Any Production 104(2)
Editing HDV 106(7)
HD 1080i59.94 Master With NTSC Media and a NTSC Delivery 107(1)
Mixing SD (NTSC 29.97) With HD 23.98 Master NTSC 29.97 Delivery Frame Rate 107(2)
Tape Versus Optical Disk or Solid State Media 109(1)
Recording Media to Disk 110(1)
Infinity Camera---Non-Tape Storage With Several Options 111(2)
Delivery Requirements 113(1)
Motion Effects and Alternative Frame Rates/Sizes---Change Tapes 114(1)
23.98 is Not 24; 29.97 is Not 30 But Could Be 59.94i or 29.97p 115(1)
Camera and Record Deck Consideration---Testing and Monitoring 115(1)
Keeping Updated Via Email 116(1)
Editorial Equipment Consideration 116(1)
Tape Labeling in the Field 117(1)
Audio Concerns 117(1)
Heads and Tails 118(1)
Makeup 118(1)
Slates, Tape Logs, Clapsticks 118(2)
Slating 119(1)
Clapsticks 120(1)
Lighting 120(1)
Camera Movement 120(2)
23.98 Speed of Camera Movement 121(1)
Time of Day Versus Continuous Run Time Code 122(1)
Graphics 123(1)
Delivery Issues 123(2)
Dolby 5.1 125(1)
Chapter Five Summary 125(4)
Real Postproduction Paths 129(30)
That Guy 129(6)
HD Shoot, HD Edit, HD Finish 129(6)
Super Bowl Feature Film Commercial---Example One 135(7)
Film Origination, HD Edit, and Delivery 135(7)
Let Me Count the Ways 142(1)
HD Production, HD Post, HD Delivery 142(1)
Super Bowl Feature Film Commercial---Example Two 143(2)
Film Origination, HD Edit, and Delivery 143(2)
American Idol 145(1)
Dane Cook's Tourgasm 146(1)
HDV Production, HD Post, HD Delivery 146(3)
Staring at the Sun 149(2)
Film Production, HD Post, Film Delivery 149(2)
Kidney Thieves 151(1)
Film Production, HD Post, HD Delivery 151(1)
Unnamed HD DVD Project 152(1)
HD Production, HD Post, HD Delivery 152(1)
Kevin Smith 153(1)
HD Production, HD Post, HD Delivery 153(1)
A Place to Rest My Head 154(2)
HDV Production, HDV Post, HD Delivery 154(2)
Top Secret Project 156(1)
HD Production, HD Post, HD Delivery 156(1)
Every Network Has Its Own Rules 156(3)
Other Editing Issues 159(18)
Viewing HD 159(4)
LCD Monitors 161(1)
Plasma Screens 162(1)
DLP Monitors 162(1)
Time Code Display from High Definition Decks 163(1)
Understanding Different Aspect Ratios in SD 164(1)
Edit System Compatibility 165(2)
The Preload 167(1)
Testing Workflow and Media Accuracy 168(1)
Edit System Updates 168(1)
Intermediate Codecs Versus ``Native'' Editing 168(1)
Data Management 169(1)
Data Protection 170(1)
Mixing Frame Rates 170(2)
Fixing It Yourself 170(1)
Credit Rolls in the 23.98 Frame Rate 171(1)
Organization and Data Protection 172(1)
Time Management 172(1)
Politics 172(1)
The Newest Fad 173(1)
Connections 173(1)
Keeping It Simple 173(1)
Chapter Seven Summary 174(3)
HD, Film, and Digital Intermediates 177(12)
HD for Feature Film 180(1)
The Details 181(3)
Shoot HD, Edit Offline, Conform HD, Enter DI, Output Film 181(1)
Shoot Film, Edit Offline, Cut Film Negative, Enter DI, Output Film 182(2)
LUTs 184(1)
Not to Be Taken Lightly 184(1)
The Video Versus Film Gap 184(2)
Film is Not a Good Duplication Medium 186(1)
The End of Film? 186(1)
Chapter Eight Summary 187(2)
Employment Opportunities and New Horizons 189(4)
On the Horizon 190(3)
Future Sales of Today's Productions 191(1)
High Def Will Be the Norm 191(2)
Steve Browne's Personal Summary 193(2)
HDV Works! 194(1)
A Few HD Connections 195(4)
FireWire 195(1)
HD-SDI 196(1)
DVI 197(1)
HDMI 197(1)
USB 2.0 198(1)
Ethernet 198(1)
Glossary 199(22)
Index 221
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