Digital filmmaking : the changing art and craft of making motion pictures

목차 (Table of Contents)

• CONTENTS
• Preface = xvii
• Acknowledgments = xix
• Foreword = xxiii
• preproduction and previsualization = 1
• 1 From Filmmaking to Digital Filmmaking = 3
• Industry Viewpoints = 4
• George Lucas - Filmmaker／Lucasfilm = 4
• The Process and the People Who Make Films = 5
• Collaboration Defines Filmmaking = 5
• Preproduction = 6
• The Screenwriter = 6
• Script Breakdown = 6
• Budgeting = 6
• Scheduling = 6
• Casting = 6
• Production Designer = 6
• Location Scout = 7
• Set Designer = 7
• Set Decorator = 7
• Property Master = 7
• Costume Designer = 7
• Makeup Artist = 8
• Production Illustrator = 8
• Production = 9
• Director of Photography = 9
• Camera Operator = 9
• Key Grip = 9
• Gaffer = 9
• Production Sound Mixer = 10
• Script Supervisor／Continuity = 10
• Developing and Printing the Film = 10
• Postproduction = 11
• Negative Cutter = 13
• Visual Effects Producer = 13
• Re-recording Mixer = 13
• Scoring Mixer = 14
• Titles and Effects Supervisor = 14
• The Color Timer = 15
• The Collaborative Process of Filmmaking = 15
• Industry Viewpoints = 15
• Howard Smith - Film Editor = 15
• 2 Introduction to Digital Filmmaking = 18
• Film Categories = 19
• Film - A World Perspective = 20
• The Digital Filmmaking Experience = 20
• Industry Viewpoints = 21
• Fraser Heston - Director／Writer = 21
• Preserving and Sharing Information = 21
• Preproduction, Production, Postproduction, and Distribution = 22
• Why Filmmaking Is Changing = 22
• The Digital Filmmaking Flowchart = 23
• Preproduction = 23
• The Script = 23
• Industry Viewpoints = 30
• Tim McGovern - SVP of Creative and Technical Affairs, Sony Pictures Imageworks = 30
• Previsualization = 31
• Set Construction and Lighting Considerations = 32
• Script and Previsualization : An Interconnected Process = 32
• The Script Supervisor and Logging = 32
• The Camera, Sound, and On-Location Digital Recording Processes = 32
• On-Set／On-Location Previsualization, Editorial, and Compositing = 32
• The Laboratory = 33
• The Telecine = 33
• Electronic Dailies = 33
• Dailies Projection = 33
• The Editorial Stage = 34
• Editorial Interaction with Parallel Operations = 34
• Industry Viewpoints = 34
• Frank Kerr - Film Director = 34
• Networking = 35
• Screening = 35
• Changes = 35
• Sound Sweetening and Mixing = 35
• Libraries for Picture and Sound = 35
• Finishing the Film = 36
• The Film Negative = 36
• Timing Lite Information = 36
• Computerized Workprint and Negative Location Tables = 36
• Film Exhibition and Distribution = 36
• Theater and Film or Television and Video? = 36
• Ancillary and New Markets = 36
• Electronic Distribution = 37
• Industry Viewpoints = 37
• Kim Aubry - Vice-President, Engineering and Technology, American Zoetrope = 37
• Rob Kobrin - Editor = 40
• Basil Pappas - Film and Digital Nonlinear Editor = 40
• 3 Scripting, Breakdown, Scheduling, and Budgeting = 43
• Scripting = 43
• Scheduling = 44
• Budgeting = 49
• Industry Viewpoints = 50
• Elizabeth Rodeno - Production Manager, Film and Commercial Productions = 50
• 4 Previsualization = 52
• Envisioning the Finished Film = 52
• Industry Viewpoints = 52
• Frank Foster - Vice President of Previsualization, Sony Pictures Imageworks = 54
• Utilizing the Work Products of the Previsualization Stage = 54
• Storyboarding : Visualizing Scene Coverage = 54
• Electronic Storyboarding Software = 54
• Storyboarding Tools and Creating an Electronic Storyboard = 54
• Drawing and Pasting = 56
• Industry Viewpoints = 57
• Paul Clatworthy - Cocreator, PowerProduction Software = 57
• Digitally Enhancing the Storyboard with Pictures and Sounds = 57
• Communicating the Storyboard = 58
• Industry Viewpoints = 58
• Fred Gallo - Director = 58
• Three-dimensional Previsualization = 58
• From Flat Storyboards to Three-dimensional Representations = 58
• Industry Viewpoints = 60
• Steve Katz - Filmmaker／Digital Production and Previsualization = 60
• Creating the Virtual Environment = 61
• Art Direction, Color, and Texturing = 61
• Lighting Considerations = 62
• Integration of Other Media Types = 62
• Communicating Ideas to Other Departments = 62
• Navigating through the Environment = 62
• Proof of Concept = 63
• Importing into the Editing System = 66
• Industry Viewpoints = 66
• Glen Scantlebury - Film Editor = 66
• Media Presentations = 67
• Previsualization's Role in Parallel Work Activities = 67
• Representing the Actors in Previsualization = 68
• Representing the Actors in the Finished Film = 68
• Industry Viewpoints = 68
• Jeff Kleiser - Kleiser-Walczak Construction Company = 68
• Interaction with Motion Control Techniques = 70
• Location Managing and Scouting = 70
• Querying a Film Commission = 71
• Previsualization of Locations = 71
• Locating Stock Footage = 71
• The Digital Backlot = 71
• Computer-based Queries = 71
• Converting Photographs and Location Information into Digital Form = 71
• Still Images : The Photo-CD Format = 71
• Moving Images : QuickTime™ or AVI™ = 72
• Accessing the Information : Central versus Local Databases = 72
• Kodak™ Picture Exchange = 72
• Image Providers = 73
• Databases with Moving Video = 73
• Related Filmmaking Databases and the Previsualization Artist = 73
• Linking Location and Previsualization = 74
• Digital Photography and Digital Information Gathering = 74
• Searching Digitally = 75
• Talent Databases and Remote Casting Sessions = 75
• Talent Casting = 76
• Digital Transmission of Live Casting Sessions = 77
• Digital Previsualization with Actors = 77
• Costume Design = 77
• The Research Phase = 77
• Previsualization for Costume Design = 78
• Industry Viewpoints = 78
• Maurizio Vecchione - Executive Vice President, Advanced Technology, ModaCAD, Inc. = 78
• Computer-assisted Research = 79
• Location Backgrounds = 79
• Computer-assisted Design = 79
• Three-dimensional Views = 79
• Applying Swatches and Colors = 80
• Sampling the Background = 80
• Computer Processing Power = 80
• Communicating the Design = 80
• Industry Viewpoints = 80
• Diane E. Shapiro - Theater, Film, and Multimedia Designer = 80
• Makeup = 83
• Digitization, Painting, and Image Manipulation Software = 84
• Industry Viewpoints = 84
• Rick Baker-Special Makeup Effects Artist, Cinovation Studios, Inc. = 84
• Feasibility Testing and Finished Work = 86
• production = 87
• 5 The Technology of Film : Timecode on Film, Computerized Cameras, Motion Control, and Pre-editorial during Production = 89
• In-camera Timecode = 89
• The Technology of In-camera Timecode = 90
• The Accuracy of In-camera Timecode = 91
• Industry Viewpoints = 91
• Jean-Pierre Beauviala - President, Aato$$n^�$$, France = 91
• Recommended Practices for Film Rate and Audio Timecode Rates = 93
• In-camera Timecode and Logging on Set = 93
• Logging on the Set = 93
• Handheld Electronic Tools for Camera and Lighting = 94
• Color Control = 94
• Diopters = 94
• Distances = 94
• DX Codes = 95
• Electricity = 95
• Exposure = 95
• Film Time, Length, and Timecode = 95
• Focus = 95
• Light = 96
• Macro Photography = 96
• Speeds = 96
• Computerized Camera Systems = 96
• Remote Camera Operations via Software = 97
• Database Functions = 97
• Software-based Camera Operation = 98
• Integrating and Sharing Information = 98
• Computerized Motion-Control = 99
• Motion Control and Digital Compositing = 101
• Starting in the Computer = 101
• Industry Viewpoints = 102
• Randall Balsmeyer - Designer, Balsmeyer & Everett, Inc.／Syzvgy Digital Cinema = 102
• Tracking the Environment = 103
• Sound on Set = 103
• Recording on DAT = 103
• Digitizing on the Set = 103
• Industry Viewpoints = 104
• Edmund M. DiGiulio - Founder, Vice-Chairman, Director of Research and Development, Cinema Products Corporation = 104
• Previsualizing on Set = 105
• Industry Viewpoints = 106
• Tony Westman, CSC - Director of Photography = 106
• Walter Murch, A.C.E. - Editor, Sound Designer = 107
• postproduction = 109
• 6 The Traditional Filmmaking Postproduction Process = 111
• Different Film Categories = 111
• A History of Image and Sound Editing = 111
• Standards = 111
• Standard Practices = 112
• The Traditional Filmmaking Process = 112
• On-location or In-studio = 112
• Processing the Film = 112
• Transferring the Sound = 113
• Synchronizing and Viewing Dailies = 113
• Identification Numbers = 114
• Shooting and Editing Simultaneously = 115
• Editing the Film = 115
• Linear versus Nonlinear Editing = 115
• Editing Systems = 115
• Editing = 116
• Trimming Shots = 116
• Overlapping Cuts = 116
• Optical Effects = 116
• The Rough Cut and the Final Cut = 117
• Industry Viewpoints = 117
• Mia Goldman, A.C.E. - Editor = 117
• Sylvie Landra - Editor = 118
• Sound Editing = 118
• Conforming the Negative = 118
• The Answer Print = 119
• The Release Print = 119
• The Promise of Digital Filmmaking Methods = 119
• Industry Viewpoints = 130
• Steven B. Cohen - Director, Digital Picture Editorial, Sony Pictures Studios = 120
• Ed Granlund - Postproduction Supervisor, Lucasfilm, Ltd. = 121
• Joel Cox - Film Editor = 122
• Pietro Scalia - Film Editor = 123
• 7 The Film Laboratory = 125
• Editorial Preparation and the Telecine Process = 125
• The Telecine Process = 126
• The Numbering Scheme of Film = 127
• How KEYKODE™ Is Arrayed = 128
• Barcode = 128
• Testing Keynumber Reading Capabilities = 129
• Capturing Timecode and Keynumbers into a Database = 130
• Three-Line VITC Proposal = 131
• Decoding the VITC Information = 131
• Alternate Shooting Formats and Keynumbers = 131
• 3-Perf and Keynumbers = 132
• Telecine Transfer and Pulldown = 134
• NTSC - Originating at 24 fps and Transferring to 30 fps Video = 134
• PAL = 135
• Location Timecode for PAL = 135
• Using Location Timecode for Picture and Sound Synchronization = 136
• NTSC 24-30 = 136
• PAL = 137
• Digital Postproduction Transfer Session = 138
• In-camera Timecode and Timecoded Audio for Syncing = 139
• PAL Postproduction = 139
• Sound Transfers and Audio Pulldown = 139
• Audio Pullup = 139
• Barcode Readers and Bench Logging Procedures = 139
• Post Telecine Synchronization = 140
• Output of Cutlist and Optical Film Effects Information = 141
• Creating Traditional Film Opticals = 141
• New Processes that Utilize Machine-Readable Key Numbers = 142
• 8 The Digital, Nonlinear Postproduction Process = 143
• Maintaining a Vision for the Film = 143
• Parallel Filmmaking Replaces Serial Postproduction = 143
• Industry Viewpoints = 144
• Martha Coolidge - Director = 144
• The Digital Picture Editorial Process = 145
• How Electronic Editing Systems Work = 145
• Videotape-based Systems = 145
• Virtual Recording and the Playlist = 146
• Multiple Versions = 146
• Laserdisc-based Systems = 146
• Digital-based Systems = 147
• The Digitization Process = 148
• Within the Computer = 148
• Pixels and Flash Convertors = 148
• Digitize and Store to Disk or Digitize-Compress Store to Disk? = 148
• Storage Requirements of Video = 149
• Storage Requirements of Film = 149
• Applying Compression for Specific Tasks = 149
• Digital Video Compression = 149
• Reducing the Data : Single Field or Double Field? = 150
• Lossless Compression = 150
• Lossy Compression = 150
• Software-Only Methods : Subsampling = 150
• Hardware Assisted Compression = 150
• Types of Digital Video Compression = 150
• Asymmetric or Symmetric Processing = 151
• Applications for MPEG = 152
• From Editing System and into the Home = 152
• How Hardware Assisted Digital Video Compression Works : JPEG Examined = 154
• Chroma Subsampling = 154
• The Discrete Cosine Transform = 154
• Quantization = 154
• Applying the Q Factor = 155
• Storage Systems = 155
• Disk Types = 155
• Magnetic Disks = 155
• Optical Discs = 155
• Managing Storage Based on Project Type = 156
• How Aspect Ratio Affects Storage = 157
• Industry Viewpoints = 157
• Joe Hutshing - Film Editor = 157
• David Brenner - Film Editor = 159
• Editing a Feature Film on a Digital, Nonlinear Editing Session = 160
• Editing Patriots = 160
• Transferring the Film = 161
• Transferring the Audio = 161
• The Digital, Nonlinear Editor = 161
• Displaying the Footage = 161
• Syncing the Dailies = 163
• Screening the Dailies = 163
• Database Capabilities = 163
• Editing = 163
• The User Interface = 163
• Splicing and Extracting = 163
• Trimming Edits = 165
• Optical Effects = 163
• Virtual Audio Tracks = 165
• Timeline Views = 165
• The Director's Cut = 165
• Cutting the Negative = 165
• Audio Elements = 166
• Whether to Project Film or Video for Screenings = 166
• Industry Viewpoints = 166
• Edward Salier, A.C.E. - Editor = 166
• Digital Audio Postproduction = 107
• Traditional Film Track Laying and Mixing = 167
• Digital Audio Workstations, Digital Audio Editing, and Mixing = 168
• Sound Design = 168
• Industry Viewpoints = 169
• Gary Rydstrom - Sound Designer／Re-recording Mixer Skywalker Sound = 169
• Editing on a Digital Audio Workstation = 170
• Digital Mixing = 170
• Industry Viewpoints = 172
• Larry Blake - Sound Editor, Re-recording Mixer = 172
• Acceptance of Digital, Nonlinear Editing by the Filmmaking Community = 172
• Industry Viewpoints = 173
• Neil Travis, A.C.E. - Film Editor = 173
• Why Such Rapid Growth? = 174
• Digital Preservation of Data = 174
• From Film to Digital, Nonlinear Editing System = 175
• From Videotape = 175
• From Computer Disk = 175
• Access to All Footage = 175
• New Picture Manipulation Tools = 175
• Digital vs. Optical Effects = 175
• Industry Viewpoints = 176
• Anne Goursaud, A.C.E. - Film Director and Film Editor = 176
• Steven J. Cohen, A.C.E. - Editor = 177
• New Audio Manipulation Tools = 178
• More than Two Audio Channels = 178
• Virtual Audio Tracks = 178
• Professional Audio Quality = 178
• Significant Audio Editing Tools = 178
• Parallel Work Activities and Avoiding Duplication of Work = 178
• Transmission Networks : Sending and Receiving the Data = 179
• Networking Capabilities = 179
• Networks Linking Production, Postproduction, and the Review Process = 179
• User Requirements = 179
• Network Terminology = 180
• Overview of Basic File Transfer Times = 180
• Modem = 180
• Types of Operation, Networks, and Transmission Types = 181
• Computer Networks = 182
• Local Talk Networks = 182
• Sharing Files between Assistant Editor and Editor = 182
• Shared and Simultaneous Access to Files : Linking Computers during Digital Editing = 182
• Decreasing the Transfer Time, Increasing the Operational Possibilities = 182
• Ethernet = 182
• Integrated Services Digital Network = 182
• Fiber Digital Data Interconnect = 183
• Applying Compression Techniques Prior to Transmission = 183
• Additional Transmission Methods = 183
• Playing Motion Video over the Network = 184
• Transmission Methods Designed for Video Playback = 184
• The Role of Digital Video Compression for Networking = 184
• Industry Viewpoints = 185
• Tom Scott-EDnet, Entertainment Digital Network = 185
• Will Film Editing Become Obsolete? = 186
• Audio Advantages = 186
• Workprint to Digital Disk : Digitizing from the Flatbed = 186
• Faster than Real Time Digitizing = 186
• Industry Viewpoints = 187
• Van Ling - Filmmaker, Digital Consultant = 187
• Digital, Nonlinear Editing Systems for Film Editing = 189
• Avid Film Composer = 189
• D／Vision Pro = 190
• Ediflex Digital = 190
• EMC Primetime = 190
• Lightworks = 190
• Montage Ⅲ = 190
• 9 The Film-Digital-Film Connection = 192
• Digital Manipulation of the Film Image = 192
• Digital Recreation of the Human Form = 192
• Industry Viewpoints = 193
• Ed Jones - President, Cinesite, Hollywood, CA = 193
• The Basics of the Film-Digital-Film Process = 197
• Creating Optical Effects - The Optical Printer = 197
• Optical Cloning = 197
• The Film Scanner = 197
• Image Format and Samples = 198
• Storing Images = 198
• Digital Film Workstation Software = 198
• Wire Removal = 198
• Industry Viewpoints = 198
• Richard Edlund, ASC - Visual Effects Supervisor and Founder of Boss Film Studios, Marina del Rey, CA = 199
• Hoyt Yeatman - Director／Visual Effects Supervisor／Cofounder, Dream Quest Images = 200
• Electronic Matte Creation = 202
• Industry Viewpoints = 203
• Scott Billups - Cinematographer, Digital Previsualization, Production, Special Effects = 203
• Computer-generated Environments and Animation = 204
• Art Direction = 205
• Pixel Manipulation = 205
• Industry Viewpoints = 205
• Steven Poster, A.S.C. - Director of Photography = 205
• The Film Recorder = 208
• Avoiding the Generational Loss of Multiple Film Passes = 208
• The Process of Creating a Multi-layered Digital Film Composite = 208
• Recreating a Classic Logo Using Computer Animation Techniques = 208
• Image Monitoring = 208
• Interaction between the DNLE System and the Digital Film Workstation = 208
• File and Flowchart Compatibility = 211
• Time and Economic Savings = 211
• Digital Audio for Theater Presentation = 212
• Sound for Film Presentations = 212
• Digital Sound Systems = 212
• Dolby Stereo Digita$$l^�$$ = 213
• Digital Theater Systems(DTS$$)^�$$ = 213
• Sony Dynamic Digital Sound(SDD$$S^�$$) = 213
• On-location Digital Filmmaking : Capture, Editing, and Transmission = 214
• Digital Tansmission and Distribution = 214
• Postproduction Use of Digital Transmission = 215
• Basic Methods of Operation = 215
• Digital Distribution = 216
• Special Event Filmmaking = 216
• Operations, Archives, and Exhibition = 216
• Film Restoration = 218
• Electronic Based Film = 218
• Industry Viewpoints = 219
• Robert Faber - Filmlook, Inc. = 219
• Methods of Program Introduction and Promotion = 219
• Previews and Marketing of Motion Pictures = 219
• Industry Viewpoints = 220
• Peter Moyer - President, Digital FilmWorks = 220
• Industry Viewpoints = 221
• Mark Galvin - Executive Producer for Feature Film and Television, Dream Quest Images = 221
• 10 Digital Filmmaking for Television and Film Presentations = 224
• Digital Filmmaking for Television Presentations = 224
• Shooting Film at 24 fps for NTSC Television = 224
• Matching Back = 224
• Frame Calculations = 225
• Worst Case Examples for Duration Adjustment = 226
• Going Long = 227
• Going Short = 227
• General Match-back = 227
• PAL Dual Finish Shows = 228
• Editing at 24 fps for a Dual Finish = 228
• Using Digital Technology for a Dual Finish Show = 228
• Film to Tape to Film to Tape(FTFT) = 229
• Retransferring the Film Using Different Frame Rates = 231
• PAL Release = 231
• Alternative Methods : Using the Negative as Source Material = 232
• Industry Viewpoints = 232
• Edgar Burcksen - Film Editor = 232
• Richard Marks, A.C.E. - Editor = 234
• Digital Filmmaking for Film Presentations = 235
• Screening on Video versus Screening on Film = 236
• Digitizing Footage Directly to the Computer Drives = 236
• Tools Found in the Digital, Nonlinear Editing System = 237
• Relating Digital Tools to the Traditional Film Workflow = 237
• Complicated Film Effects = 237
• Creating a Film Title Sequence on a Digital Nonlinear Editing System = 237
• Today's Digital Filmmaking Editing Process for Film Delivery = 240
• Applying Digital Technology to Feature Filmmaking : The Making of Radioland Murders = 240
• The Making of an All-digital Film = 240
• Industry Viewpoints = 241
• James Cameron - Filmmaker = 241
• Industry Viewpoints = 248
• Francis Coppola - Filmmaker = 249
• Digital Filmmaking = 240
• Reader Feedback and Information on CD-ROM Availability for Digital Filmmaking = 240
• Glossary = 251
• Bibliography = 257
• Index = 259