Film Technology in Post Production
Routledge (Verlag)
978-1-138-14845-1 (ISBN)
The book is based on the author's own experience as a lab technician and technical film consultant and provides answers to many frequently asked questions. The different pathways for film production and postproduction are demonstrated as well as the function of the lab at each stage of the process. The complete range of services is offered, with particular emphasis on the often confusing requirements for super 16 and the blow up to 35mm, the intricacies of negative cutting to match a non-linear edit and the process of grading and regrading for the answer print.
This new edition includes:
* An update on all digital formats of image and sound
* Revision sections on Super 16, Super 35
* Additional information on syncing rushes at telecine and to digital images
* The latest telecine machines
* A new, clear and simple glossary
Dominic Case
Part 1 Film Technology in Context; Chapter 1 Introduction; Chapter 2 Origins of Film and Video; Chapter 3 Film and Video: the Differences; Chapter 4 Film versus Video – or Film with Video; Chapter 5 Digital Film; Part 2 Post Production Pathways; Chapter 6 Film versus Video Production; Chapter 7 Traditional Sprocket Edit, Film Finish; Chapter 8 Non-linear Edit, Film Finish; Chapter 9 Non-linear Edit, Video Finish; Chapter 10 Supervision; Chapter 11 Lab Estimates; Chapter 12 Insurance, Liability, Troubleshooting Tests; Part 3 Film Stock; Chapter 13 mm Film; Chapter 14 mm Film; Chapter 15 Types of Colour Film Stock; Chapter 16 Black and White Film Stocks; Part 4 Film Processing; Chapter 17 Additive and Subtractive Colour; Chapter 18 Colour Specification and Perception; Chapter 19 The Photographic Emulsion; Chapter 20 Film Emulsion Layers; Chapter 21 Developing the Image; Chapter 22 The Processing Sequence; Chapter 23 Process Control Standards; Chapter 24 Units of Density; Chapter 25 Gamma; Chapter 26 Contrast and Latitude; Chapter 27 Graininess; Chapter 28 Black and White Negative; Chapter 29 Pushing and Flashing; Chapter 30 Cross-processing; Chapter 31 Bleach Bypass (Negative); Chapter 32 Alternative Styles of Print; Part 5 Film Printing; Chapter 33 The film printing machine; Chapter 34 Colour Correction in Printers; Chapter 35 Film Grading Techniques; Chapter 36 Film Grading for Answer Print; Chapter 37 LAD Exposure and Grading Line-up; Chapter 38 Film Cleaning; Chapter 39 Clean-up Processes; Chapter 40 Wet Gate Printing; Chapter 41 Work Prints: Negative Reports; Chapter 42 Work Prints: Selecting and Screening; Chapter 43 Technical Problems at Rushes; Part 6 Negative Matching; Chapter 44 Keykodes; Chapter 45 Negative Cutting; Chapter 46 Preparing for Negative Cutting; Chapter 47 Cutting to an EDL; Chapter 48 Extracting Select Negative; Chapter 49 Splices; Chapter 50 A- and B-Rolls; Part 7 Laboratory Processes; Chapter 51 Duplication; Chapter 52 Emulsion Geometry; Chapter 53 Super 16: Special Considerations; Chapter 54 Making the Blow-up (1); Chapter 55 Making the Blow-up (2); Chapter 56 Super 35; Chapter 57 Other Film Formats; Chapter 58 Frameline Masking; Chapter 59 Optical Effects Printers; Chapter 60 Optical Effects; Chapter 61 Rostrum Camera; Chapter 62 Titles; Chapter 63 Printing from Black and White; Chapter 64 Mixing Black and White and Colour Footage; Chapter 65 Archival and Stock Footage; Chapter 66 Trailers; Part 8 Sound Transfer, Edit, Mix, Sync; Chapter 67 The Final Mix; Chapter 68 The Optical Sound Negative and Print; Chapter 69 Analogue Soundtrack Prints; Chapter 70 Syncing Picture and Sound Negatives; Chapter 71 Analogue Soundtrack Quality; Chapter 72 Digital Soundtracks; Part 9 Grading, Answer Print, Release Prints; Chapter 73 The Answer Print; Chapter 74 Release Prints; Chapter 75 The Film Projector; Chapter 76 Release Prints in Use; Chapter 77 Film Storage and Preservation; Chapter 78 Archival Restoration; Part 10 Telecine Transfers; Chapter 79 Telecine Machines (1); Chapter 80 Telecine Machines (2); Chapter 81 Which Format: Tape or Disk?; Chapter 82 Film and Video Frame Rates; Chapter 83 Video Transfers: Hybrid Frames; Chapter 84 Matching Film and Video Frame Counts; Chapter 85 Timecode; Chapter 86 Logging Keykodes and Timecodes (1); Chapter 87 Logging Keykodes and Timecodes (2); Chapter 88 Synchronizing Rushes (1); Chapter 89 Synchronizing Rushes (2); Chapter 90 Film for Telecine Transfer; Chapter 91 Grading on Telecine: Rushes Transfers; Chapter 92 Grading on Telecine: Masters; Chapter 93 Masking for TV; Chapter 94 Digital Television and Widescreen; Part 11 Digital Processes; Chapter 95 Digital Resolution; Chapter 96 Digital Origination; Chapter 97 Scanning and Recording; Chapter 98 Calibrating the Film Recorder; Chapter 99 Digital Grading; Chapter 100 Digital Effects for Film; Chapter 101 Kine Transfers: Video to Film; Chapter 102 Digital Cinema;
| Erscheinungsdatum | 25.08.2016 |
|---|---|
| Verlagsort | London |
| Sprache | englisch |
| Maße | 138 x 216 mm |
| Gewicht | 385 g |
| Themenwelt | Kunst / Musik / Theater ► Film / TV |
| Kunst / Musik / Theater ► Fotokunst | |
| Kunst / Musik / Theater ► Theater / Ballett | |
| Sachbuch/Ratgeber ► Freizeit / Hobby ► Fotografieren / Filmen | |
| ISBN-10 | 1-138-14845-8 / 1138148458 |
| ISBN-13 | 978-1-138-14845-1 / 9781138148451 |
| Zustand | Neuware |
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