DIGITAL FILMMAKING HANDBOOK LIMITED WARRANTY AND DISCLAIMER OF LIABILITY CHARLES RIVER MEDIA, INC. (“CRM”) AND/OR ANYONE WHO HAS BEEN INVOLVED IN THE WRITING, CREATION OR PRODUCTION OF THE ACCOMPANYING CODE (“THE SOFTWARE”), OR THE THIRD PARTY PRODUCTS CONTAINED ON THIS CD, CANNOT AND DO NOT WARRANT THE PERFORMANCE OR RESULTS THAT MAY BE OBTAINED BY USING THE SOFTWARE. THE AUTHOR AND PUBLISHER HAVE USED THEIR BEST EF- FORTS TO ENSURE THE ACCURACY AND FUNCTIONALITY OF THE TEXTUAL MATERIAL AND PROGRAMS CONTAINED HEREIN; HOWEVER, WE MAKE NO WARRANTY OF ANY KIND, EXPRESSED OR IMPLIED, REGARDING THE PERFORMANCE OF THESE PRO- GRAMS.THE SOFTWARE IS SOLD “AS IS “ WITHOUT WARRANTY (EXCEPT FOR DEFECTIVE MATERIALS USED IN MANUFACTURING THE DISK OR DUE TO FAULTY WORKMANSHIP); THE SOLE REMEDY IN THE EVENT OF A DEFECT IS EXPRESSLY LIMITED TO REPLACE- MENT OF THE DISK, AND ONLY AT THE DISCRETION OF CRM. THE AUTHOR, THE PUBLISHER, DEVELOPERS OF THIRD PARTY SOFTWARE, AND ANY- ONE INVOLVED IN THE PRODUCTION AND MANUFACTURING OF THIS WORK SHALL NOT BE LIABLE FOR DAMAGES OF ANY KIND ARISING OUT OF THE USE OF(OR THE IN- ABILITY TO USE) THE PROGRAMS, SOURCE CODE, OR TEXTUAL MATERIAL CONTAINED IN THIS PUBLICATION. THIS INCLUDES , BUT IS NOT LIMITED TO, LOSS OF REVENUE OR PROFIT, OR OTHER INCIDENTAL OR CONSEQUENTIAL DAMAGES ARISING OUT OF THE USE OF THE PRODUCT. THE CD WHICH ACCOMPANIES THIS BOOK MAY BE USED ON A SINGLE COMPUTER ONLY. THE LICENSE DOES NOT PERMIT THE USE ON A NETWORK (OF ANY KIND). YOU FURTHER AGREE THAT THIS LICENSE GRANTS PERMISSION TO USE THE PRODUCTS CONTAINED HEREIN, BUT DOES NOT GIVE YOU RIGHT OF OWNERSHIP TO ANY OF THE CONTENT OR PRODUCT CONTAINED ON THIS CD. USE OF THIRD PARTY SOFTWARE CONTAINED ON THIS CD IS LIMITED TO AND SUBJECT TO LICENSING TERMS FOR THE RESPECTIVE PRODUCTS. USE, DUPLICATION OR DISCLOSURE BY THE UNITED STATES GOVERNMENT OR ITS AGENCIES ARE LIMITED BY FAR 52.227-7013 OR FAR 52.227-19, AS APPROPRIATE. THE USE OF “IMPLIED WARRANTY” AND CERTAIN “EXCLUSIONS” VARY FROM STATE TO STATE, AND MAY NOT APPLY TO THE PURCHASER OF THIS PRODUCT. DIGITAL FILMMAKING HANDBOOK Ben Long and Sonja Schenk CHARLES RIVER MEDIA, INC. Rockland, Massachusetts Copyright © 2000 by CHARLES RIVER MEDIA, INC. All rights reserved. No part of this publication may be reproduced in any way, stored in a retrieval system of any type , or transmitted by any means or media, electronic or mechanical including, but not limited to, photocopy, recording, or scanning, without prior written permission from the publisher. Publisher: Jenifer Niles Production: Publishers’ Design and Production Services, Inc. Cover Design: The Printed Image CHARLES RIVER MEDIA, Inc. P.O. Box 417 403 VFW Drive Rockland, Massachusetts 02370 781-871-4184 781-871-4376(FAX) chrivmedia@aol.com http://www.charlesriver.com This book is printed on acid-free paper All brand names and product names mentioned are trademarks or service marks of their respective companies. Any omission or misuse (of any kind) of service marks or trademarks should not be regarded as intent to infringe on the property of others. The publisher recognizes and respects all marks used by companies, manufacturers, and developers as a means to distinguish their products. Digital Filmmaking Handbook by Ben Long and Sonja Schenk ISBN: 1-58450-017-4 Printed in the United States of America 00 01 02 03 7 6 5 4 3 2 1 CHARLES RIVER MEDIA titles are available for site license or bulk purchase by institutions, user groups, corporations, etc. For additional information, please contact the Special Sales Department at 781-871-4184. CONTENTS v ACKNOWLEDGMENTS . . . . . . . . . . . . . . . . . . . . . . . xi C HAPTER 1INTRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 WHAT KIND OF EQUIPMENT DO I NEED? . . . . . . . . . . . . . . . . . . . 4 WHAT IS DIGITAL VIDEO? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 WHY DIGITAL VIDEO?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 WHAT THIS BOOK COVERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 POP QUIZ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 CHAPTER 2PLANNING YOUR PROJECT . . . . . . . . . . . . . . . . . . 13 BEFORE YOU START. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 WRITING FOR DV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 SCHEDULING YOUR PROJECT . . . . . . . . . . . . . . . . . . . . . . . . . . 22 BUDGETING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 PAYING AS YOU GO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28 BUDGETING CAN BE FUN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32 CHAPTER 3PREVISUALIZATION . . . . . . . . . . . . . . . . . . . . . . . . 33 STORYBOARDING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34 SUMMARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 CHAPTER 4CHOOSING A VIDEOTAPE FORMAT . . . . . . . . . . . . . . 49 DELIVERY IS EVERYTHING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 VIDEO BASICS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52 VIDEO FORMAT FEATURES . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60 VIDEOTAPE FORMATS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68 SO WHICH ONE DO I CHOOSE? . . . . . . . . . . . . . . . . . . . . . . . . 73 OR, MAYBE IT DOESN’T MATTER . . . . . . . . . . . . . . . . . . . . . 73 CHAPTER 5BUILDING A WORKSTATION . . . . . . . . . . . . . . . . . . 75 FIRST THINGS FIRST. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 CHOOSING A PLATFORM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 CHOOSING A VIDEO INTERFACE. . . . . . . . . . . . . . . . . . . . . . . . . 78 CHOOSING A COMPUTER . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 FORMATTING YOUR DRIVES . . . . . . . . . . . . . . . . . . . . . . . . . . . 93 MANAGING YOUR RAM . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95 CONCLUSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 CHAPTER 6CHOOSING A CAMERA . . . . . . . . . . . . . . . . . . . . . . 99 EVALUATING IMAGE QUALITY . . . . . . . . . . . . . . . . . . . . . . . . . 100 CAMERA FEATURES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 ACCESSORIZING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120 CAMERAS COMPARED . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122 CHAPTER 7NON-LINEAR EDITING SOFTWARE . . . . . . . . . . . . . 127 YOU SAY ON-LINE, I SAY OFF-LINE . . . . . . . . . . . . . . . . . . . . 128 WHAT’SINANNLE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 GETTING MEDIA INTO YOUR PROJECT . . . . . . . . . . . . . . . . . . . 139 AUDIO TOOLS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145 THE FINAL PRODUCT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148 NLES COMPARED . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150 SUMMARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154 CHAPTER 8LIGHTING AND ART DIRECTING . . . . . . . . . . . . . . . 155 LIGHTING BASICS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 TYPES OF LIGHT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 THE ART OF LIGHTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164 TUTORIAL . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167 INTERIOR LIGHTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172 EXTERIOR LIGHTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 SPECIAL LIGHTING SITUATIONS . . . . . . . . . . . . . . . . . . . . . . . . 176 ART DIRECTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179 ROLLING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 vi CONTENTS CHAPTER 9SHOOTING DIGITAL VIDEO . . . . . . . . . . . . . . . . . . 183 SHOOTING DIGITAL VIDEO . . . . . . . . . . . . . . . . . . . . . . . . . . . 184 THE TOOL OF THE TRADE—THE CAMERA . . . . . . . . . . . . . . . . 190 DURING THE SHOOT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 SPECIAL SHOOTING SITUATIONS . . . . . . . . . . . . . . . . . . . . . . . 214 QUIET ON THE SET, PLEASE . . . . . . . . . . . . . . . . . . . . . . . . . . 215 CHAPTER 10 PRODUCTION SOUND . . . . . . . . . . . . . . . . . . . . . 217 WHAT YOU WANT TO RECORD . . . . . . . . . . . . . . . . . . . . . . . . 218 MICROPHONES. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 SETTING UP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 RECORDING YOUR SOUND . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 A GOOD APPROACH . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244 CHAPTER 11 EDITING HARDWARE . . . . . . . . . . . . . . . . . . . . . . 245 HARDWARE AND PERIPHERALS . . . . . . . . . . . . . . . . . . . . . . . . 246 DIGITAL VIDEO DECKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 DIGITAL AUDIO EQUIPMENT . . . . . . . . . . . . . . . . . . . . . . . . . . 256 VIDEO MONITORS. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 HARDWARE CONNECTORS . . . . . . . . . . . . . . . . . . . . . . . . . . . 260 SUMMARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 CHAPTER 12 PREPARING TO EDIT . . . . . . . . . . . . . . . . . . . . . . 263 WORST CASE SCENARIO . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264 HOW TO ORGANIZE YOUR PROJECT . . . . . . . . . . . . . . . . . . . . 265 LOGGING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266 TUTORIAL: SETTING YOUR VIDEO LEVELS . . . . . . . . . . . . . . . . 267 TUTORIAL: LOGGING AND CAPTURING . . . . . . . . . . . . . . . . . . . 274 TIPS FOR BETTER LOGGING . . . . . . . . . . . . . . . . . . . . . . . . . . 277 CAPTURING ON-LINE QUALITY VIDEO . . . . . . . . . . . . . . . . . . . 279 TROUBLESHOOTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 ADVANCED MEDIA MANAGEMENT . . . . . . . . . . . . . . . . . . . . . . 287 SUMMARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289 CHAPTER 13 EDITING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291 THE INVISIBLE ART. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292 BUILDING BLOCKS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292 CONTENTS vii FINE-CUTTING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307 LOCKING PICTURE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309 CHAPTER 14 SOUND EDITING . . . . . . . . . . . . . . . . . . . . . . . . . 311 SOUNDING OFF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312 SETTING UP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314 DEDICATED SOUND EDITING APPS . . . . . . . . . . . . . . . . . . . . . 317 EDITING SOUND . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322 EQUALIZING IS YOUR FRIEND . . . . . . . . . . . . . . . . . . . . . . . . . 327 CHOOSING SOUND EFFECTS . . . . . . . . . . . . . . . . . . . . . . . . . . 331 MUSIC. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332 FIX IT IN THE MIX?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 CHAPTER 15 COLOR CORRECTION . . . . . . . . . . . . . . . . . . . . . 337 TO COMPRESS, OR NOT TO COMPRESS . . . . . . . . . . . . . . . . . 338 COLOR CORRECTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343 TUTORIAL: CORRECTING WHITE BALANCE . . . . . . . . . . . . . . . . 345 PUT A CLAMP ON IT. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354 CORRECTING COLOR FOR FILM. . . . . . . . . . . . . . . . . . . . . . . . 356 CHAPTER 16 TITLING AND SIMPLE COMPOSITING . . . . . . . . . . . 357 TITLES AND SIMPLE GRAPHICS . . . . . . . . . . . . . . . . . . . . . . . . 358 COMPOSITING 101 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364 TUTORIAL: Creating a Luminance Key . . . . . . . . . . . . . . . . 367 TUTORIAL: Using a Chroma Key . . . . . . . . . . . . . . . . . . . . . 372 TUTORIAL Creating a Title in Photoshop. . . . . . . . . . . . . . . 385 TUTORIAL: Variable Transparency. . . . . . . . . . . . . . . . . . . . 391 MOVING PICTURES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394 TUTORIAL: Creating a Credit Roll . . . . . . . . . . . . . . . . . . . . 396 TUTORIAL: Adding Camera Shake . . . . . . . . . . . . . . . . . . . . 400 SUMMARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406 CHAPTER 17 ROTOSCOPING AND MORE COMPOSITING . . . . . . . . 409 ROTOSCOPING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410 TUTORIAL: Rotoscoping a Simple Image . . . . . . . . . . . . . . 414 TUTORIAL: Painting an Alpha Channel by Hand . . . . . . . . . 421 TUTORIAL: Color Correcting Part of an Image . . . . . . . . . . 429 TUTORIAL: Exploding Heads . . . . . . . . . . . . . . . . . . . . . . . . 436 viii CONTENTS SPECIAL EFFECTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450 MAKING YOUR VIDEO LOOK LIKE FILM . . . . . . . . . . . . . . . . . . 453 TUTORIAL: Creating Film Grain . . . . . . . . . . . . . . . . . . . . . . 455 RENDERING . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461 CHAPTER 18 OUTPUTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463 MASTERING YOUR OUTPUTS. . . . . . . . . . . . . . . . . . . . . . . . . . 464 VIDEOTAPE MASTERS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 465 THE FINAL AUDIO MIX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478 OUTPUTTING TO CD-ROM . . . . . . . . . . . . . . . . . . . . . . . . . . . 482 OUTPUTTING FOR THE WEB . . . . . . . . . . . . . . . . . . . . . . . . . . 492 DVD AUTHORING. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495 GETTING YOUR 35MM FILM RELEASE PRINT . . . . . . . . . . . . . . 497 CONCLUSION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 504 APPENDIX ACALIBRATING YOUR NTSC MONITORS . . . . . . . . . 505 SETTING UP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 506 APPENDIX BABOUT THE CD-ROM . . . . . . . . . . . . . . . . . . . . . 509 G LOSSARY . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513 I NDEX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 541 CONTENTS ix [...]... Script Dated: July 1, 19 99 Character X Annie Grandfather John Satij Wayne Houston Dan Tuttle Vince Bill Bus Dev 1 Bus Dev 2 No 1 1 1 1 8 12 14 2 2 2 2 2 2 1 1 2 1 2 1 1 1 5 6 3/8 3 8 2 3 4 5 6 7 8 9 10 11 INT - X's Room - Day Scs Producer: B Long 11 — End Of Day 2 – 7/23/99 — 13 8 3/8 pgs Director: 16 INT - X's Room - Night Scs 24 1 Rush 39 INT - Bathroom in X's apartment - Night Scs 14 1 INT - X's Room... Scs 5 1 INT - X's apartment building - Night Scs 4 1 EXT - Top of stairs outside X's building - Ni Scs 6 1 EXT - Intersection - Cole/Carl - Night Scs 1, 2 Shoot Day: 13 14 4/8 37 6/8 38 3/8 10 5/8 13 5/8 23 4/8 INT - X's Room - Night Scs 12 4 INT - X's Room - Day Scs 44 3 INT - X's Room - Day Scs 39 2 INT - X's Room - Day Scs 15 1 Page Count: 2 3/8 2 5/8 3 1/ 8 4 6/8 — End Of Day 1 – 7/22/99 — 12 7/8... software CHAPTER 1 INTRODUCTION 9 Really Low Budget Analog Digital Film Computer $4,000* $1, 300** $1, 300*** Analog digitizing card $1, 000–$5,000 N/A N/A Camera $750 $1, 300 $2,000 Analog deck $2,000 N/A $1, 000 Speakers, NTSC monitor, cables $500–up $500–up $500–up Editing software $2,300 $400 $1, 400 Stock $300 $300 $10 ,700 Telecine transfers N/A N/A $4,000 Total: $10 ,850–up $3,800–up $19 ,900-up *Macintosh... The Digital Filmmaking Handbook is targeted at anyone who wants to use their desktop computer and DV camera to create professional-quality productions (Figure 1. 1) F IGURE Using a small, DV-equipped film crew doesn’t mean you have to sacrifice 1. 1 quality Modern DV equipment can deliver results that are a good substitute for expensive analog video or film 3 DIGITAL FILMMAKING HANDBOOK 4 Although this... special digital video camera or tape deck In other instances, it might be a traditional analog camera or deck The main difference between a digital and an analog camera is that a digital camera dig- 5 DIGITAL FILMMAKING HANDBOOK 6 itizes video while you shoot, and stores it on tape in a digital format, while an analog camera stores video and audio on tape as analog waves For the most part, when we say digital. .. $1, 000 Camera $30,000 $4,000 $6,000 Analog deck $12 ,000 $1, 000 $2,000 Speakers, NTSC monitor, cables $500–up $500–up $500-up Computer Editing software $400– $1, 000 $400– $1, 000 $2,000 Stock $700 $300 $10 ,700 ? Telecine transfers N/A N/A $5,000 Total: $48,600+ $9,000+ $ 31, 200+ *Macintosh 350 MHz G4 computer with 12 8MB RAM, 36GB Ultra2 SCSI with interface, 17 ″ Apple monitor, Zip drive, DVD-ROM drive, 56K... money throughout the process You don’t have to know all the answers, but you should at least know the questions that will come up during the course of your production 11 CHAPTER 2 Planning Your Project 13 DIGITAL FILMMAKING HANDBOOK 14 I N T HIS C HAPTER • • • • • • Before you start Writing for DV Projects Scheduling Your Project Budgeting Paying As You Go Budgeting Can Be Fun Before You Start All... of beginning, middle and end 15 DIGITAL FILMMAKING HANDBOOK 16 Doing It Write Whether or not you’re an experienced writer, crafting a good shooting script is a daunting challenge Screenplays are very different from other types of writing, and you’ll want to devote a good amount of study and practice to your script writing For more on the craft of writing, check out www dvhandbook.com/writing.html There... cops are screwin' me around and I need a hand Here's 10 0 bucks Get on the Interstate and drive south for ten minutes, that's all I need When they stop you tell em (MORE) (CONTINUED) F IGURE Although measurements can vary, if you use the margins shown you’ll have a 2 .1 script formatted in “standard” screenplay format DIGITAL FILMMAKING HANDBOOK 18 Standard screenplay format has a number of other conventions... www.dvhandbook.com/writingtools.html for comprehensive lists of screenwriting software and utility programs 21 DIGITAL FILMMAKING HANDBOOK 22 The Pitch Unfortunately, you can’t expect your script to speak for itself Most potential backers and crew members won’t have the time or patience to read an entire script, so you’ll have to win them over through a good pitch For more on pitches, check out www.dvhandbook.com/pitching.html . distinguish their products. Digital Filmmaking Handbook by Ben Long and Sonja Schenk ISBN: 1- 58450- 017 -4 Printed in the United States of America 00 01 02 03 7 6 5 4 3 2 1 CHARLES RIVER MEDIA titles. Design: The Printed Image CHARLES RIVER MEDIA, Inc. P.O. Box 417 403 VFW Drive Rockland, Massachusetts 02370 7 81- 8 71- 418 4 7 81- 8 71- 4376(FAX) chrivmedia@aol.com http://www.charlesriver.com This. 52.227-7 013 OR FAR 52.227 -19 , AS APPROPRIATE. THE USE OF “IMPLIED WARRANTY” AND CERTAIN “EXCLUSIONS” VARY FROM STATE TO STATE, AND MAY NOT APPLY TO THE PURCHASER OF THIS PRODUCT. DIGITAL FILMMAKING HANDBOOK Ben