DIGITAL FILMMAKING HANDBOOK phần 10 pptx

CHAPTER 17 ROTOSCOPING AND MORE COMPOSITING Higher Contrast In a similar manner, you can increase the contrast of a clip by layering two iden- tical copies and applying an Unsharp Mask filter to the upper one. Set an Un- sharp Amount between 50–70, a radius between 25–40, and a Threshold of 0. Keep the upper layer’s opacity at 100%, but change its transfer mode to Darken. CHANGING VIDEO TIME With its frame rate of 60 fields per second, video effectively has more than twice the frame rate of film’s 24 frames per second. While you might think that more frames must be better, in the case of moving images, it seems that less fre- quently is more. Film’s slower frame rate tends to engage the viewer more than video’s perfect, higher-frame-rate motion. Since film presents the viewer with less information, it effectively asks them to do more, and thus brings them “into” the scene in a way that video can’t do. As we discussed in Chapter 9, if you shoot progressive scan video, you’ve got a good head start on a more film-like motion. If you shot normal, inter- laced, 60-field motion, you’ll need to do some post-production processing to change the temporal quality of your video. De-Interlacing The easiest first step is to de-interlace your video. De-interlacing will throw out one field of video, and duplicate the remaining field to fill in the missing lines. This means that every pair of fields (that is, every 60th of a second of displayed video) is identical, effectively reducing your frame rate to 30 fps. This will im- mediately give your video a more film-like motion. Unfortunately, it will also lower the detail in your image and can worsen any existing aliasing troubles. You can try to soften the aliasing problems with a localized blur, and im- prove detail with some strategic sharpening. Obviously, these processes will take time, so you’ll want to do some experiments before you commit to de-in- terlacing. Try some short clips and make sure that the de-interlacing effect gives you results that you like. Blurring Film also has a very characteristic motion blur that results in images that are a little softer and blurrier than the sharp contrast of video. Hopefully, when 459 shooting, you kept your shutter speed to something reasonable like 1/60th of a second, so you’ve already got some motion blur in your image. You can try to create more blur through post-production manipulation, but be warned that less is definitely more when adding such effects. Blur a single color channel. Though it won’t produce the most accurate re- sults, adding just a little blur to a single color channel (red, green, or blue) in your video can serve to soften the image just enough so as to imply a slurry film look. Blurring different channels will yield very different results, so do some experimenting with each channel. PLUG-INS There are a number of good plug-ins that can create a film look for you. If you’re serious about matching particular film stocks, creating a complicated ef- fect such as old film, or having a high degree of control, the extra expense of these filters might be worth it. • DigiEffects Cinelook/Cinemotion The premiere plug-ins for creating a filmy look, Cinelook provides excellent, exhaustive controls for mod- ifying the color of your video (you can actually pick film stocks by name from a list of standard film types) and its temporal quality. In addition, Cinelook provides excellent control for adding grain, damage, flicker, even burning film! Though Cinelook provides good temporal adjust- ments, Cinemotion provides more advanced 3:2 pulldown simulation for the exacting producer. • DigiEffects Delirium, Aurorix, and AgedFilm Some of DigiEffects’ other plug-in collections include film simulators. Delirium provides a FilmFlash plug-in for simulating the flicker of a film camera, while Au- rorix provides an AgedFilm filter for adding debris. Windows users can buy the stand-alone AgedFilm plug-in for adding debris, scratches, and color shift. • ArtBeats libraries ArtBeats, the company that sells the muzzle flashes and impacts that you used in earlier tutorials, also sells a nice collection of Film Clutter. These scratches, countdowns, hairs, and dirt can be luma or chroma keyed over your video to create a very convincing old film look. DIGITAL FILMMAKING HANDBOOK 460 CHAPTER 17 ROTOSCOPING AND MORE COMPOSITING As you may have already discovered when rendering your projects, creating special effects involves a lot of waiting. Though you can try to reduce the wait time by adding processor cards to your computer (such as the BlueIce After Effects accelerators from Iced, Inc.) or by optimizing your use of effects and filters, in the end there’s no getting around waiting for rendering. Be aware, however, that if you have followed the rendering suggestions we gave in Chapter 15, and are moving your video between applications using the Animation CODEC, then there’s a good chance that you’ll have another shorter rendering step when you get back to your NLE. Remember that before your NLE can send footage back to your camera (for output to tape, or for dis- play on your NTSC monitor), the footage has to be compressed with the NLE’s codec. So, after importing your Animation-compressed footage from After Effects, you’ll have to let your NLE compress the footage into DV or MJPEG-compressed footage for output to your camera. Note also, that if you’re ultimately going to film, some of the film-look sug- gestions we presented in this chapter may be irrelevant. We’ll cover final out- put (including film transfer concerns) in detail in the next chapter. Rendering 461 [...]... the independent filmmaker, but with the advent of the “home theater” and HDTV, surround sound may soon become standard Dolby Digital (or AC-3), DTS (Digital Theater System), and SDDS (Sony Dynamic Digital Sound) are the currently available digital surround sound formats Dolby Digital and DTS use 5.1 channels: left, center, right speaker in the front of the theater, left and right surround speakers in... Kaleidescope, ADO, and Sony DME 3000 are some of the more common hardware-based DVE generators that are typically used in an on-line edit session DIGITAL FILMMAKING HANDBOOK 472 EDLs and DVEs EDLs can be rather limited when it comes to information about digital video effects While motion effects, dissolves, color effects, and resizing are commonly included in an EDL, you should check with your post-production... distract the viewers from the screen There are a number of software plug-ins for encoding Dolby surround See www.dvhandbook.com/surroundsound for details 479 DIGITAL FILMMAKING HANDBOOK 480 P REPARING FOR A P ROFESSIONAL A UDIO M IX The quality of the digital audio in most NLEs (44.1 or 48 kHz) is sufficient enough to merit using the tracks directly from your NLE as sources for your mix To do this, you’ll... with alternate data rates 493 DIGITAL FILMMAKING HANDBOOK 494 F IGURE 18.9 You can create streaming QuickTime movies by exporting your compressed QuickTime file as a hinted movie Depending on the design of your Web page, you might want to take advantage of other QuickTime features, such as the ability to display the initial frame of a movie on your page For details, see www.dvhandbook.com/webdelivery Video... or plastic boxes Tape labels should include the following information: production company, producer/director’s name and contact info, project title, date, total run time (TRT), and format 475 DIGITAL FILMMAKING HANDBOOK 476 Preparing Your Sequence for Output Before you output your video, you need to prepare your sequence Make sure you’ve replaced all temporary footage and proxies with the real thing... you’ve already output to tape If you think you need to do lots of insert editing, make sure your software and hardware are capable of frame accurate device control and insert editing out to tape DIGITAL FILMMAKING HANDBOOK 478 Watch Your Output! It may sound silly, but lots of people don’t watch their output as they’re recording By the time you get to the point of outputting your master, you’ve probably... of all effects, non-standard transitions and audio F IGURE 18.2 A timeline view of a locked edited sequence (A) and the same edit, stripped of all temporary and/or unnecessary elements (B) 469 DIGITAL FILMMAKING HANDBOOK 470 The List After you’ve stripped your project down to its on-line essentials, you’ll be ready to create an edit decision list, or EDL You’ll create the EDL in your editing software... support, Dolby Digital is also supported by DVD players and digital televisions using the ATSC DTV format Surround mixes are generally balanced toward the front channels, with the rear channels used for occasional effects or ambience Overuse of the rear channels tends to distract the viewers from the screen There are a number of software plug-ins for encoding Dolby surround See www.dvhandbook.com/surroundsound... on-line editor will probably try to correct this “problem” by taking down the blue Every project will include several situations like this, so it’s important that you sit in on the session 473 DIGITAL FILMMAKING HANDBOOK 474 You should arrive at the session with a printed version of your EDL containing comments, source names, and clip names If you find the EDL confusing to read, spend some time at your... hooked up to your computer Either invest in better-quality speakers, or, if you have a nice stereo system, string a cable from your computer to your stereo and use it to monitor your audio 481 DIGITAL FILMMAKING HANDBOOK 482 No matter how many audio tracks you have, you’ll want to start by mixing them down to eight tracks A typical eight-track configuration includes two tracks of checkerboarded sync . Your Outputs DIGITAL FILMMAKING HANDBOOK 464 CHAPTER 18 OUTPUTS (page 480), and you’ll take your master videotape to a film recordist who will create a negative (page 497). You’ll need digital files. Depending on your EDL type, you may be limited to 800 or 100 0 lines of text per EDL. Since each edit, also known as an DIGITAL FILMMAKING HANDBOOK 470 CHAPTER 18 OUTPUTS event, takes up at least. typically used in an on-line edit session. 471 DIGITAL FILMMAKING HANDBOOK 472 EDLs and DVEs EDLs can be rather limited when it comes to information about digital video effects. While motion effects,