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FireWire, fi ling structures, 193–195<br />
5 K, 173<br />
Foley, 106–107<br />
4 K, 173<br />
G<br />
Geography of the Imagination, workfl ow<br />
deconstruction, 218–221<br />
H<br />
Hard lock, syncing, 37–38<br />
HD Cam, 172–173<br />
HD Cam SR, 173<br />
HD D-5, 173<br />
HDV, 168, 171<br />
Help Wanted, workfl ow deconstruction,<br />
212–215<br />
I<br />
IMAX, 178–179<br />
IMX, 171–172<br />
Inked edge code numbers, Cinema Tools<br />
support, 10–11<br />
Interleaving, pixels, 159<br />
Internegative print, defi nition, 59<br />
Internet, see Web<br />
Interpositive print, defi nition, 59<br />
K<br />
Key code, fi lm, 61–62<br />
L<br />
Leaders<br />
audio leaders, 204<br />
workfl ow, 203–204<br />
Letterboxing, 183–187<br />
Liths, see Photolithographs<br />
LiveType, title generation, 126<br />
Lord of the Rings, 109<br />
Lost Hope and More<br />
capturing and preparing, 20–22<br />
editing to locked cut, 54–55<br />
negative editing, 77–79<br />
sound design example, 115–117<br />
workfl ow deconstruction, 215–218<br />
M<br />
Media Manager, online editing,<br />
85–87<br />
Metadata, digital videotape, 158<br />
MIDI, 107–108<br />
MPEG, compression, 160<br />
Music<br />
MIDI tracks, 107–108<br />
recording, 107<br />
N<br />
National Television Standards Committee<br />
(NTSC) video<br />
color format and titles, 124–125<br />
frame fi elds, 152<br />
frame rate, 151<br />
historical perspective, 151–154<br />
television lag, 153<br />
workfl ow examples<br />
24P low data, 227–229<br />
29.97 low data, 225–226<br />
Negative<br />
conforming, see Conforming<br />
cutting, 69–70, 76–77<br />
editing of Lost Hope and More, 77–79<br />
NTSC video, see National Television<br />
Standards Committee video<br />
O<br />
O Brother, Where Art Thou?, 134<br />
Optical list, 66–67<br />
Optical printer, fi lm, 60–61<br />
Optical printing, fi lm titles, 129<br />
P<br />
P2 card<br />
features, 172<br />
tapeless capture, 32–33<br />
PAL, see Phase Alternate Line<br />
Pan and scan, process, 187–188<br />
Panavision Genesis 262, 173–174<br />
Phase Alternate Line (PAL)<br />
encoding system, 163, 165<br />
frame rate, 163, 165<br />
sound, 165<br />
Photolithographs (Liths), fi lm titles,<br />
127–128<br />
Photoshop, title generation and import,<br />
120–123<br />
Picture edit<br />
changes after edit is locked, 53–54<br />
dailies adding<br />
digital video, 52<br />
fi lm, 51–52<br />
initiation, 51<br />
Lost Hope and More editing to locked<br />
cut, 54–55<br />
vertical timeline editing problems,<br />
52–53<br />
Picture Start frame, 98–99<br />
Pro Tools<br />
advantages in audio capture and sound<br />
design, 93<br />
audio import from Final Cut Pro<br />
Digi Translator plug-in, 96–97<br />
fi le conversion, 98<br />
formats, 95–96<br />
Picture Start frame, 98–99<br />
sound design, 96<br />
audio track management, 42–47<br />
automatic dialogue replacement<br />
recording, 101–102<br />
control surfaces and automation, 111<br />
fi le architecture, 189–190<br />
fi nal dub, 110<br />
sample rate support, 96<br />
sound design, see Sound design<br />
temp dub, 109<br />
virtual track switching, 103–104<br />
ProRes 422<br />
color grading, 142<br />
high-defi nition video capture, 31–32<br />
standard defi nition conversion to<br />
high-defi nition, 91<br />
workfl ow example using HD or SD<br />
video formats, 240<br />
Pull list, 66<br />
Pulling, work print, 67–69<br />
R<br />
Red Camera, 175–176<br />
Redcode<br />
Final Cut Pro support, 33<br />
Red Camera, 175–176<br />
Reel length, fi lm, 62–63<br />
Release print, defi nition, 59<br />
Reverse telecine<br />
Cinema Tools<br />
fi le checking, 15–16<br />
sequence settings, 16<br />
fi ling structure, 193<br />
frame rate selection, 14–15<br />
rationale, 13–14<br />
24PA video, 27<br />
Index<br />
S<br />
Scanning, fi lm to digital intermediate,<br />
72–74<br />
SECAM system, see System Electronic<br />
Colour Avec Memore (SECAM) system<br />
Slate, time code locking to smart slate,<br />
38–41<br />
Soft lock, syncing, 37–38<br />
Son from the Ocean, capture and<br />
preparation, 34<br />
Sound design<br />
dialogue<br />
automatic dialogue replacement,<br />
101–102<br />
clean-up, 102–105<br />
splitting off production tracks,<br />
99–101<br />
stems, 111–112<br />
elements, 99<br />
fi nal dub, 110–111<br />
Lost Hope and More example,<br />
115–117<br />
music, 107–108<br />
optical sound<br />
prints on fi lm, 113<br />
projection print, 114–115<br />
pull up, 112–114<br />
Pro Tools advantages, 93<br />
sound effects, 105–107<br />
temp dub, 108–110<br />
Sound effects<br />
backgrounds, 105–106<br />
cueing, 15<br />
editing, 105<br />
Foley, 106–107<br />
listing, 105<br />
Sound Track Pro<br />
audio interfaces, 94<br />
loop editing and management, 95<br />
workfl ow overview, 93–95<br />
Splicing<br />
overview, 199–200<br />
unintentional splices, 207<br />
Stereo, export and fi nishing, 112<br />
Success<br />
capture and preparation, 33–34<br />
workfl ow deconstruction, 209–211<br />
Superimposed titles, fi lm, 128–129<br />
Syncing, see Audio<br />
System Electronic Colour Avec Memore<br />
(SECAM) system, 165<br />
243