Digital Filmmaking, 2nd Edition

Digital Filmmaking, 2nd Edition

by Thomas Ohanian, Natalie Phillips
Released April 2013
Publisher(s): Routledge
ISBN: 9781136053535

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Book description

Digital Filmmaking has been called the bible for professional filmmakers in the digital age. It details all of the procedural, creative, and technical aspects of pre-production, production, and post-production within a digital filmmaking environment. It examines the new digital methods and techniques that are redefining the filmmaking process, and how the evolution into digital filmmaking can be used to achieve greater creative flexibility as well as cost and time savings. The second edition includes updates and new information, including four new chapters that examine key topics like digital television and high definition television,making films using digital video, 24 P and universal mastering, and digital film projection.




Digital Filmmaking provides a clear overview of the traditional filmmaking process, then goes on to illuminate the ways in which new methods can accomplish old tasks. It explains vital concepts, including digitization, compression, digital compositing, nonlinear editing, and on-set digital production and relates traditional film production and editing processes to those of digital techniques. Various filmmakers discuss their use of digital techniques to enhance the creative process in the "Industry Viewpoints" sections in each chapter .

Table of contents

  1. Cover
  2. Title
  3. Copyright
  4. Contents
  5. Foreword
  6. Preface to the Second Edition
  7. Acknowledgments
  8. Introduction
  9. Preproduction and Previsualization
    1. 1 From Filmmaking to Digital Filmmaking
      1. Industry Viewpoints
      2. The Process and the People who Make Films
      3. Preproduction
      4. Production
      5. Postproduction
      6. Industry Viewpoints
    2. 2 Introduction to Digital Filmmaking
      1. Film Categories
      2. Industry Viewpoints
      3. Why Filmmaking is Changing
      4. Preproduction
      5. Industry Viewpoints
      6. The Laboratory
      7. The Editorial Stage
      8. Industry Viewpoints
      9. Finishing the Film
      10. Film Exhibition and Distribution
      11. Industry Viewpoints
      12. Industry Viewpoints
      13. Industry Viewpoints
    3. 3 Scripting, Breakdown, Scheduling, and Budgeting
      1. Scripting
      2. Scheduling
      3. Budgeting
      4. Industry Viewpoints
    4. 4 Previsualization
      1. Envisioning the Finished Film
      2. Industry Viewpoints
      3. Industry Viewpoints
      4. Industry Viewpoints
      5. Industry Viewpoints
      6. Art Direction, Color, and Texturing
      7. Industry Viewpoints
      8. Industry Viewpoints
      9. Interaction with Motion Control Techniques
      10. Location Managing and Scouting
      11. Digital Photography and Digital Information Gathering
      12. Costume Design
      13. Industry Viewpoints
      14. Industry Viewpoints
      15. Makeup
      16. Industry Viewpoints
      17. Feasibility Testing and Finished Work
  10. Production
    1. 5 The Technology of Film: Time-code on Film, Computerized Cameras, Motion-control, and Pre-editorial during Production
      1. In-Camera Timecode
      2. Industry Viewpoints
      3. Recommended Practices for Film Rate and Audio Timecode Rates
      4. In-Camera Timecode and Logging on Set
      5. Handheld Electronic Tools for Camera and Lighting
      6. Computerized Camera Systems
      7. Computerized Motion-Control
      8. Industry Viewpoints
      9. Sound on Set
      10. Industry Viewpoints
      11. Previsualizing on Set
      12. Industry Viewpoints
      13. Industry Viewpoints
  11. Postproduction
    1. 6 The Traditional Filmmaking Postproduction Process
      1. Different Film Categories
      2. A History of Image and Sound Editing
      3. The Traditional Filmmaking Process
      4. Editing the Film
      5. Industry Viewpoints
      6. Industry Viewpoints
      7. The Promise of Digital Filmmaking Methods
      8. Industry Viewpoints
      9. Industry Viewpoints
      10. Industry Viewpoints
      11. Industry Viewpoints
    2. 7 The Film laboratory
      1. Editorial Preparation and the Telecine Process
      2. The Telecine Process
      3. The Numbering Scheme of Film
      4. Telecine Transfer and Pulldown
      5. PAL
      6. Using Location Timecode for Picture and Sound Synchronization
      7. PAL
      8. Digital Postproduction Transfer Session
      9. Output of Cutlist and Optical Film Effects Information
      10. New Processes that Utilize Machine-Readable Keynumbers
    3. 8 The Digital, Nonlinear Postproduction Process
      1. Maintaining a Vision for the Film
      2. Parallel Filmmaking Replaces Serial Postproduction
      3. Industry Viewpoints
      4. The Digital Picture Editorial Process
      5. Virtual Recording and the Playlist
      6. The Digitization Process
      7. Digital Video Compression
      8. How Hardware Assisted Digital Video Compression Works: Jpeg Examined
      9. Storage Systems
      10. Managing Storage Based on Project Type
      11. How Aspect Ratio Affects Storage
      12. Industry Viewpoints
      13. Industry Viewpoints
      14. Editing a Feature Film on a Digital, Nonlinear Editing System
      15. Whether to Project Film or Video for Screenings
      16. Industry Viewpoints
      17. Digital Audio Postproduction
      18. Digital Audio Workstations, Digital Audio Editing, and Mixing
      19. Industry Viewpoints
      20. Industry Viewpoints
      21. Acceptance of Digital, Nonlinear Editing by the Filmmaking Community
      22. Industry Viewpoints
      23. From Film to Digital, Nonlinear Editing System
      24. Industry Viewpoints
      25. Industry Viewpoints
      26. Transmission Networks: Sending and Receiving the Data
      27. Types Of Operation, Networks, and Transmission Types
      28. Decreasing the Transfer time, Increasing the Operational Possibilities
      29. Industry Viewpoints
      30. Will Film Editing Become Obsolete?
      31. Industry Viewpoints
      32. Digital, Nonlinear Editing Systems for Film Editing
    4. 9 The Film-Digital-Film Connection
      1. Digital Manipulation of the Film Image
      2. Digital Recreation of the Human Form
      3. Industry Viewpoints
      4. The Basics of the Film-Digital-Film Process
      5. Creating Optical Effects—The Optical Printer
      6. The Film Scanner
      7. Digital Film Workstation Software
      8. Industry Viewpoints
      9. Industry Viewpoints
      10. Industry Viewpoints
      11. Industry Viewpoints
      12. The Film Recorder
      13. Avoiding the Generational Loss of Multiple Film Passes
      14. Recreating A Classic Logo Using Computer Animation Techniques
      15. Image Monitoring
      16. Interaction Between The Dnle System and The Digital Film Workstation
      17. Digital Audio for Theater Presentation
      18. On-Location Digital Filmmaking: Capture, Editing, And Transmission
      19. Film Restoration
      20. Electronic Based Film
      21. Industry Viewpoints
      22. Methods of Program Introduction And Promotion
      23. Industry Viewpoints
      24. Industry Viewpoints
    5. 10 Digital Filmmaking for Television and Film Presentations
      1. Digital Filmmaking for Television Presentations
      2. Matching Back
      3. General Match-Back
      4. Pal Dual Finish Shows
      5. Editing at 24 FPS for a Dual Finish
      6. Using Digital Technology for a Dual Finish Show
      7. Film to Tape to Film to Tape (FTFT)
      8. Alternative Methods: Using the Negative as Source Material
      9. Industry Viewpoints
      10. Industry Viewpoints
      11. Digital Filmmaking for Film Presentations
      12. Screening on Video Versus Screening on Film
      13. Digitizing Footage Directly to the Computer Drives
      14. Tools Found in the Digital, Nonlinear Editing System
      15. Creating a Film Title Sequence on a Digital, Nonlinear Editing System
      16. Today’s Digital Filmmaking Editing Process for Film Delivery
      17. The Making of an All-Digital Film
      18. Industry Viewpoints
      19. Industry Viewpoints
      20. Digital Filmmaking
    6. 11 24p: Twenty-Four Frames, Progressively Scanned
      1. What is 24p?
      2. Film Versus HDTV
      3. The Four Components of Format
      4. Film-Based and 1080/24P Workflow
      5. Creating SDTV Down-Converts from 1080/24P Videotape
      6. Editing in High Definition and Deriving the Sdtv Submasters from the 1080/24P Master
      7. Industry Viewpoints
    7. 12 Digital Television and Electronic Cinema
      1. Digital Television
      2. History
      3. Definitions and Standards
      4. HDTV Data Rates
      5. Digital Nonlinear High-Definition Editing Systems
      6. Editing for 16:9 And 4:3
      7. Down-Conversion
      8. Up-Conversion
      9. 14:9 and 15:9 Aspect Ratios
      10. Widescreen SD to Widescreen HD
      11. Serial Digital Transport Interface (SDTI)
      12. Film Acquisition Versus High Definition Acquisition
      13. Interlaced Versus Progressive
      14. The 2K Process
      15. Digital Films
      16. Shooting in Hd for Film Presentation
      17. Opportunistic Data, Services, and Interactive Television
      18. Time-Shifting Programming and Digital Delivery
      19. Digital Projection Systems
      20. Dv and Independent Filmmaking
    8. 13 A Discussion with the Authors at the Association of Independent Commercial Editors (AICE), New York City.
  12. Glossary
  13. Bibliography
  14. Index

Product information

  • Title: Digital Filmmaking, 2nd Edition
  • Author(s): Thomas Ohanian, Natalie Phillips
  • Release date: April 2013
  • Publisher(s): Routledge
  • ISBN: 9781136053535