Post esst slides v18

Course
VS098 ~ POST PRODUCTION ESSENTIALS
Your Instructor
SCOTT CARREY
Instructor Evaluation
www.vs.edu/survey
Course
VS098 ~ POST PRODUCTION ESSENTIALS
Your Instructor
SCOTT CARREY
Instructor Evaluation
www.vs.edu/survey

The goal of this course is to provide students with an Overview of the
Technology & Workflow Processes involved in the Post Production of
television shows, feature films, and other media content.
The goal of this course is to provide students with an Overview of the
Technology & Workflow Processes involved in the Post Production of
television shows, feature films, and other media content.
This course helps set a foundation for the rest of YOUR Video
Symphony Program and YOUR Career. YOU will be introduced to core
techniques and the language & environment of Post Production. We
will look at key roles & definitions; traditional, current, and emerging
methods & processes; and how to apply the understanding of
techniques, to the Post Production Tools of today, tomorrow, and
beyond.
This course helps set a foundation for the rest of YOUR Video
Symphony Program and YOUR Career. YOU will be introduced to core
techniques and the language & environment of Post Production. We
will look at key roles & definitions; traditional, current, and emerging
methods & processes; and how to apply the understanding of
techniques, to the Post Production Tools of today, tomorrow, and
beyond.
Textbook: Cut by Cut: Editing Your Film or Video, by Gael ChandlerTextbook: Cut by Cut: Editing Your Film or Video, by Gael Chandler
What is this class all about?What is this class all about?

Who am I?Who am I?
Scott Carrey
Digital Media & Technology Specialist
Scott Carrey
Digital Media & Technology Specialist

Who am I?Who am I?
Scott Carrey
Digital Media & Technology
Specialist
Scott Carrey
Digital Media & Technology
Specialist

Who Are You?Who Are You?
1. Your Name?
2. What attracted you to
this business?
3. What are your career
goals?
4. What experience if
any do you have?
1. Your Name?
2. What attracted you to
this business?
3. What are your career
goals?
4. What experience if
any do you have?

The Top 5 Reasons People Pursue a Career in Film & VideoThe Top 5 Reasons People Pursue a Career in Film & Video
No. 5: Love to push buttons and make things whirl.
No. 4: Admired Sister Veronica's mastery of the filmstrip projector.
No. 3: Thought there were better things to do at 3 a.m. than sleep.
No. 2: Mistakenly believed AV stood for "always virile"
No. 1: Hoped to find a legal way to make things fly through the air!
No. 5: Love to push buttons and make things whirl.
No. 4: Admired Sister Veronica's mastery of the filmstrip projector.
No. 3: Thought there were better things to do at 3 a.m. than sleep.
No. 2: Mistakenly believed AV stood for "always virile"
No. 1: Hoped to find a legal way to make things fly through the air!

5 Phases of Film Making5 Phases of Film Making

1) Development
2) Pre-Production
3) Production
4) Post-Production
5) Distribution/Delivery
1) Development
2) Pre-Production
3) Production
4) Post-Production
5) Distribution/Delivery
5 Phases of Film Making5 Phases of Film Making

3 Phases in the Production Process3 Phases in the Production Process

3 Phases in the Production Process3 Phases in the Production Process
1) Pre-Production
2) Production
3) Post-Production
1) Pre-Production
2) Production
3) Post-Production

At What Phase Does Post Start?At What Phase Does Post Start?
1) Pre-Production
2) Production
3) Post-Production
1) Pre-Production
2) Production
3) Post-Production

1) Pre-Production
2) Production
3) Post-Production
1) Pre-Production
2) Production
3) Post-Production

Sizzle Reels, Animatics & Ripomatics

Equipment & Talent Considerations

Post Budgeting & Scheduling

Technical Considerations

Pre-Visualization (Pre-Viz)

Sizzle Reels, Animatics & Ripomatics

Equipment & Talent Considerations

Post Budgeting & Scheduling

Technical Considerations

Pre-Visualization (Pre-Viz)

1) Pre-Production
2) Production
3) Post-Production
1) Pre-Production
2) Production
3) Post-Production

Shot Logging & Direct Ingest – On Set Capture Systems

VFX Elements (plates, gs, mocap, moco rig, cam/light data)

Pre-Comps and live CGI Integration (Avatar, Henson Digital)

On-Set, Near-Set, Remote Collaboration – Mobile Lab/Digital
Dailies – DIT/DIS, Data Wrangler/Manager (Digital Loader),
Pre-Post Technician; Dig Prod Sup

Facility Based Transcoding – Editorial Prep

Shot Logging & Direct Ingest – On Set Capture Systems

VFX Elements (plates, gs, mocap, moco rig, cam/light data)

Pre-Comps and live CGI Integration (Avatar, Henson Digital)

On-Set, Near-Set, Remote Collaboration – Mobile Lab/Digital
Dailies – DIT/DIS, Data Wrangler/Manager (Digital Loader),
Pre-Post Technician; Dig Prod Sup

Facility Based Transcoding – Editorial Prep

On-Set Post / Digital Mobile Labs

The Road Map From Shoot to EditThe Road Map From Shoot to Edit
1) Slates
2) Production/Continuity Reports
3) Line Scripts / Script Supervisor's Notes
4) Camera Reports / Shot Logs
5) Sound Reports

Slates - “Sticks, Clapper/Marker Boards”Slates - “Sticks, Clapper/Marker Boards”
Smart, TC or Denecke SlateSmart, TC or Denecke Slate
Used for Audio Sync & Prod & Shot IdentificationUsed for Audio Sync & Prod & Shot Identification
App VersionApp Version
Tail SlateTail Slate
Audio slate Voice track information recorded at the start
of a tape identifying the production. This might include
the series title and episode number, the director, the
production date and the planned air date. Generally a
visual slate is also included with essentially the same
information. Often 'Wild Lines, Production SFX and
Room Tone” are slated with no corresponding Visual
Slate.
Audio slate Voice track information recorded at the start
of a tape identifying the production. This might include
the series title and episode number, the director, the
production date and the planned air date. Generally a
visual slate is also included with essentially the same
information. Often 'Wild Lines, Production SFX and
Room Tone” are slated with no corresponding Visual
Slate.

Syncing to ClapSyncing to Clap
Slates - “Sticks, Clapper/Marker Boards”Slates - “Sticks, Clapper/Marker Boards”

Poor Slating/MarkingPoor Slating/Marking

Line ScriptProduction/Continuity Report

Production Sound ReportsProduction Sound Reports

“The more information available from production,
The more you can do & easier it will be in post!”
“The more information available from production,
The more you can do & easier it will be in post!”
Direct From Lens
MetaData Systems
Direct From Lens
MetaData Systems

Types of Editing: The Many Forms of ContentTypes of Editing: The Many Forms of Content
Scripted Editing (Film & TV) – Features, TV Episodics - Dramas, Sitcoms,
Soaps
Non-Scripted (News, Docs, Reality/Alternative Programming, Talk Shows,
Game Shows) **Non Scripted shows still have scripts**
Segment Editing vs Show Formatting
Short Form – Commercials (60, 30, 10, concept of cut downs), Music Video,
Promo's, Trailers, EPK's, DVD Ancillary, Clip Packages (Award Shows,
Highlight Reels, etc) etc
Versioning – Airline, Hotel, For TV – Cuts
Home Video & Direct to DVD
VFX Editing
Sizzle Reels, Promo Reels, Demo Reels, Animatics, Ripomatics, and
Cinematics for Gaming
Enterprise – Sales, Marketing, Corporate ID, & Training Videos
Scripted Editing (Film & TV) – Features, TV Episodics - Dramas, Sitcoms,
Soaps
Non-Scripted (News, Docs, Reality/Alternative Programming, Talk Shows,
Game Shows) **Non Scripted shows still have scripts**
Segment Editing vs Show Formatting
Short Form – Commercials (60, 30, 10, concept of cut downs), Music Video,
Promo's, Trailers, EPK's, DVD Ancillary, Clip Packages (Award Shows,
Highlight Reels, etc) etc
Versioning – Airline, Hotel, For TV – Cuts
Home Video & Direct to DVD
VFX Editing
Sizzle Reels, Promo Reels, Demo Reels, Animatics, Ripomatics, and
Cinematics for Gaming
Enterprise – Sales, Marketing, Corporate ID, & Training Videos

Job Roles in Post ProductionJob Roles in Post Production

“Learn Techniques Not Just Tools”“Learn Techniques Not Just Tools”

“Study and know the process behind what we do and you
will have value no matter what means we use to produce it.”

Evolve yourself and your careers and help shape all of our futures!Evolve yourself and your careers and help shape all of our futures!

The Evolution of our IndustryThe Evolution of our Industry

Content Everywhere/AnywhereContent Everywhere/Anywhere

Multi-Channel, Multi-Format, Multi-Device
Distribution & Delivery (2nd
Screen & OTT Streaming)
Multi-Channel, Multi-Format, Multi-Device
Distribution & Delivery (2nd
Screen & OTT Streaming)

Shot On What?Shot On What?
Academy Award 2012 Nomination FormatsAcademy Award 2012 Nomination Formats

Types of Workflows - “Big Picture”Types of Workflows - “Big Picture”

V V ForTVV V ForTV
ForV DIorFile-Based ForDCPorTVForV DIorFile-Based ForDCPorTV
Data File-Based ForDCPorTVorDataData File-Based ForDCPorTVorData
F F FF F F
F ForV ForTVF ForV ForTV

Phases & Types of EditsPhases & Types of Edits●
Selects
●
Rough Cut
●
Fine Cut
●
Polish
●
Locked Cut – Visuals
●
Locked Cut w/ Temp SFX & Temp Music
●
Finals for Mastering & Mix (Prep Elements-AAF's,
EDL's, etc.)
●
Sub Masters (Conformed VAM's or Neg Assembled)
●
Color Corrected Masters (CCM/CTM's or Timed/Answer
Prints)
●
Delivery Masters (Release Prints w/ Optical Sound)
●
Delivery Versions – (Generics, Formatted
Mix+M&E,Dialogue + FX, Dry/Wet)
●
Directors Cut
●
Producers Cut
●
Editors Cut???
●
Approval Process – Producer / Exec / Studio /
●
Selects
●
Rough Cut
●
Fine Cut
●
Polish
●
Locked Cut – Visuals
●
Locked Cut w/ Temp SFX & Temp Music
●
Finals for Mastering & Mix (Prep Elements-AAF's,
EDL's, etc.)
●
Sub Masters (Conformed VAM's or Neg Assembled)
●
Color Corrected Masters (CCM/CTM's or Timed/Answer
Prints)
●
Delivery Masters (Release Prints w/ Optical Sound)
●
Delivery Versions – (Generics, Formatted
Mix+M&E,Dialogue + FX, Dry/Wet)
●
Directors Cut
●
Producers Cut
●
Editors Cut???
●
Approval Process – Producer / Exec / Studio /
FILM vs. VIDEO Editing Terms
Assembly vs. Conform = Offline vs. Online
Work Print = Work Dub
Edge Coded FT&FRM = Window Burn
FILM vs. VIDEO Editing Terms
Assembly vs. Conform = Offline vs. Online
Work Print = Work Dub
Edge Coded FT&FRM = Window Burn
Director vs. Producer
Medium
Film/Music Vids vs.
TV/Commercials
Director vs. Producer
Medium
Film/Music Vids vs.
TV/Commercials

Conform FilmConform Film
Edit FilmEdit Film Distribute FilmDistribute Film
F F FF F F
Shoot Film


Dailies/Rushes

Labs = Develop & Process: Print All vs Circle Tks - Cam Reports

Workprint

Synching Dailies
− Mag (single) Stripe (dual sync)
− Edge Coding “ACMADE” Numbers - Feet+Frame

Cut Lists

Change Lists

Opticals & Opticals List – Xtions, Dupes - IP's & IN's, Titles, Overlay Gfx

Conforming Work Print (Neg Cut Lists & Sound Mix/Layback - Optical)

Answer & Release Prints
F F FF F F
Workflow Processes, Key Tools & TechniquesWorkflow Processes, Key Tools & Techniques

Other Film TermsOther Film Terms

Heads & Tails/Foot
(Heads out or wind/wound,
Head Punch, Tails Out,
Tail Punch or wound)

Leader (Head & Tail or Foot)

Emulsion Side Up/Down

Sprockets

Perforation “Perfs”

Under/Over Cranked

Heads & Tails/Foot
(Heads out or wind/wound,
Head Punch, Tails Out,
Tail Punch or wound)

Leader (Head & Tail or Foot)

Emulsion Side Up/Down

Sprockets

Perforation “Perfs”

Under/Over Cranked

Shoot FilmShoot Film
Xfer/Sync NegXfer/Sync Neg
Edit VideoEdit Video
Distribute TVDistribute TV
Edit FilmEdit Film
Sync PrintSync Print
Conform & Color TimeConform & Color Time
Distribute FilmDistribute Film
Conform & Color CorrectConform & Color Correct


Dailies – Film / Video

Telecine – One & Best Lights – Selects w/ Edge #'s/KC

Synch in Telecine vs Synch in Offline

Work-Dubs (Off-line) Window Dubs (Burn)






Conforming from Edit Decision List (EDL)






Conforming from Edit Decision List (EDL)

Mastering VAM's (Final GFX, Titles (Chyrons), CTM's)

Delivery Masters / Broadcast Masters – or – Neg Conforms
(lock box) & Film Outs

Other Deliverables (final dubs, As Broadcast/Aired Scripts,
Cue Sheets, Stems & M&E's, Distribution Copies, CC & Video
Descriptions)

Archived Cut Negative

Challenges in The Film/Video RelationshipChallenges in The Film/Video Relationship

1) Frame Rate
2) Aspect Ratio
3) Audio Sync
4) Optical Timings
5) Conforming

Frame RateFrame Rate

Frame Rate
Film Runs at How Many fps = ???
Frame Rate

Frame Rate
24fps (23.98/23.976)
Frame Rate
24fps (23.98/23.976)

Frame Rate
24fps (23.98/23.976)
vs.
Video Runs at How Many fps = ???
Frame Rate
24fps (23.98/23.976)
vs.

Frame Rate
24fps (23.98/23.976)
vs.
29.97(df) or 30(ndf) – Interlaced
24 (23.98) – Progressive
Frame Rate
24fps (23.98/23.976)
vs.

Frame Rate
24fps (23.98/23.976)
vs.
3:2:2:3 Pulldown
TC to Keycode
Frame Rate
24fps (23.98/23.976)
vs.
3:2:2:3 Pulldown
TC to Keycode

LET'S TAKE A LOOKLET'S TAKE A LOOK

Telecine Xfer LogTelecine Xfer Log
Importing .FLX, .ALE and
other Log Files into NLE
Importing .FLX, .ALE and
other Log Files into NLE

Aspect Ratio

Aspect Ratio
Film Aspect =
vs.
Video Aspect =

Aspect Ratio
Film Aspect =
1:33, 1:85, 2:35
vs.
Video Aspect =
1.33 (4x3), 1:79(16x9)

Aspect Ratio
Film Aspect =
1:33, 1:85, 2:35
vs.
Video Aspect =
1.33 (4x3), 1:79(16x9)
Letterbox, Pan & Scan, Center Cut,
Anamorphic Squeeze

Other Issues
Audio Sync - Audio Pulldown/Sample
Rate Conversion
Optical Timings – (both in xtion
speed/feel & color –
photochemical+3lights vs. electronic
freq/amplitude)
Conforming – Reversing T/C to
Keycode Neg Cut Lists, Lock Box
Confirmation for Phantom Frame
Alignment
Audio Sync - Audio Pulldown/Sample
Rate Conversion
Optical Timings – (both in xtion
speed/feel & color –
photochemical+3lights vs. electronic
freq/amplitude)
Conforming – Reversing T/C to
Keycode Neg Cut Lists, Lock Box
Confirmation for Phantom Frame
Alignment

V V ForTVV V ForTV
00
Shoot VideoShoot Video
Edit VideoEdit Video
Conform VideoConform Video Color Correct VideoColor Correct Video
1111
Film-Out (Kinescope)Film-Out (Kinescope)


Shuttle/Jog (knob & J,K,L &
arrow keys)

Visible Window

LTC / VITC

Waveform/Vectorscope -
Blanking (pedestal/setup &
gain)

House Sync, TBC, Black Burst,
Gen Lock

Bars & Tone

Blk & coded
Video TermsVideo Terms

ForV DIorFile-Based ForDCPorTVForV DIorFile-Based ForDCPorTV
Shoot FilmShoot Film
Shoot VideoShoot Video
File-Based EditFile-Based Edit
Encode to
Data File
Scan FilmScan Film
DI FinishDI Finish
Conform &
Color Correct
Conform &
Color Correct
Distribute DCPDistribute DCP

Digital intermediate (typically abbreviated to DI) is a motion picture finishing process which classically involves digitizing a motion
picture and manipulating the color and other image characteristics (grain,XXX . It often replaces or augments the photochemical
timing process and is usually the final creative adjustment to a movie before distribution in theaters. It is distinguished from the
telecine process in which film is scanned and color is manipulated early in the process to facilitate editing. However the lines
between telecine and DI are continually blurred and are often executed on the same hardware by colorists of the same background.
A digital intermediate though is customarily done at higher resolution and with greater color fidelity than telecine transfers.
In traditional photochemical film finishing, an intermediate is produced by exposing film to the original camera negative. The
intermediate is then used to mass-produce the films that get distributed to theaters. Color grading is done by varying the amount of
red, green, and blue light used to expose the intermediate. DI seeks to be able to replace or augment the photochemical approach
to creating this intermediate using digital tools
The intermediate for final film reproduction can then be produced by means of a film recorder. The physical intermediate film that is
a result of the recording process is sometimes also called a digital intermediate, and is usually recorded to internegative (IN) stock,
which is inherently finer-grain than camera negative (OCN) Usually a Kodak stock even if the final Release Print is on Fuij.
One of the key technical achievements that makes the DI possible is the look-up table (aka "LUT"), which can be made to mimic
how the digital image will look, once it's printed onto normal release print stock. DI facilities generally allow comparing the digital
image directly to a print on the same screen, ensuring precise calibration of the process.
Although originally used to describe a process that started with film scanning and ended with film recording, digital intermediate is
also used to describe color grading and final mastering even when a digital camera is used as the image source and/or when the
final movie is not output to film.
The digital master is often used as a source for a DCI compliant distribution of the motion picture for digital projection.
Digital intermediate (typically abbreviated to DI) is a motion picture finishing process which classically involves digitizing a motion
picture and manipulating the color and other image characteristics (grain,XXX . It often replaces or augments the photochemical
timing process and is usually the final creative adjustment to a movie before distribution in theaters. It is distinguished from the
telecine process in which film is scanned and color is manipulated early in the process to facilitate editing. However the lines
between telecine and DI are continually blurred and are often executed on the same hardware by colorists of the same background.
A digital intermediate though is customarily done at higher resolution and with greater color fidelity than telecine transfers.
In traditional photochemical film finishing, an intermediate is produced by exposing film to the original camera negative. The
intermediate is then used to mass-produce the films that get distributed to theaters. Color grading is done by varying the amount of
red, green, and blue light used to expose the intermediate. DI seeks to be able to replace or augment the photochemical approach
to creating this intermediate using digital tools
The intermediate for final film reproduction can then be produced by means of a film recorder. The physical intermediate film that is
a result of the recording process is sometimes also called a digital intermediate, and is usually recorded to internegative (IN) stock,
which is inherently finer-grain than camera negative (OCN) Usually a Kodak stock even if the final Release Print is on Fuij.
One of the key technical achievements that makes the DI possible is the look-up table (aka "LUT"), which can be made to mimic
how the digital image will look, once it's printed onto normal release print stock. DI facilities generally allow comparing the digital
image directly to a print on the same screen, ensuring precise calibration of the process.
Although originally used to describe a process that started with film scanning and ended with film recording, digital intermediate is
also used to describe color grading and final mastering even when a digital camera is used as the image source and/or when the
final movie is not output to film.
The digital master is often used as a source for a DCI compliant distribution of the motion picture for digital projection.

Data File-Based ForDCPorTVorDataData File-Based ForDCPorTVorData
Data AcquisitionData Acquisition
File-Based EditFile-Based Edit
DI FinishDI Finish
Conform &
Color Correct
Conform &
Color Correct


Bit Rate or Data Rate

Bandwidth or Throughput

Compression

Encoding, Decoding &
Transcoding

Codec

File Format

Container or Wrapper
Data & File-Based TermsData & File-Based Terms

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