Creative postproduction : editing, sounds, visual effects, and music for film and video
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書誌事項
Creative postproduction : editing, sounds, visual effects, and music for film and video
Pearson Allyn and Bacon, c2004
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注記
Includes bibliographical references and index
内容説明・目次
内容説明
Creative Postproduction explains the creative aspects of film and video postproduction so as to enhance the understanding and appreciation of film and television. This book provides essential insight into the postproduction process for general film students; those headed for careers as directors, cinematographers, producers, or writers; and those who want to pursue a career in the area of postproduction itself.
目次
THE CHANGING WORLD OF POSTPRODUCTION, BY ROBERT BENEDETTI.
The Production Process in Brief.
Film versus Video.
The Authors.
I. THE POSTPRODUCTION PROCESS, BY BERNIE LARAMIE.
1. Getting Started.
Post Begins in Prep.
The Human Face of Post.
The Postproduction Supervisor.
The Postproduction Empire.
2. The Post Budget.
Creating the Budget.
The Budget Form.
Doing a Budget Breakdown.
Working Within the Budget.
3. Working with Film
Film Sizes and Formats.
Double System Sound and Synchronization.
Time Code.
The Film Process.
Videotape and Digital Dailies.
Opticals and Special Visual Effects.
Cutting the Negative and Printing.
Dirt.
4. The Nature of Video.
Analog and Digital.
Compression, Frames, and Streaming.
Progressive and Interlaced Video.
Video Standards and Resolution.
5. Video Origination and Editing.
DV Cams.
Offline and Online Editing.
Conforming.
The Future.
6. The Post Schedule.
The Art of Scheduling.
The Post Calendar.
7. Special Visual Effects.
Practical Effects.
Enter the Computer.
Mattes and Green Screen: Cut a Hole, Fill a Hole.
Morphing.
Motion Capture.
Planning for Effects.
8. Sound.
The Sound Supervisor.
The Sound Design Process.
Foley.
Pre-Lays and the Final Mix.
Audio Presentation Formats.
9. Prints, Distribution, and Archives.
Film Prints.
Video Delivery.
Final Delivery.
Archives.
II. EDITING, BY MICHAEL BROWN.
10. The Editor, the Director, and the Editing Team.
The Relationship of Editor and Director.
Forming the Relationship.
Tact.
The Editing Team.
Style.
11. The Work Begins.
The Lined Script and the Assistant Editor's Log.
What Can Go Wrong, Will.
Early Technical Problems.
Creative Problems and Sticky Situations.
12. The First Assembly and the Director's Cut.
Editing for Stock Footage and Visual Effects.
The Rough Cut.
Editing for the Story.
Editing for the Actor's Performance.
Editing Action.
13. Toward a Locked Cut.
The Director's Cut.
The Producer's Cut.
The First Screening.
Focus Groups.
Preview Screenings.
Locking the Cut.
14. Dubbing, Timing, and Printing.
ADR, Narration, and Walla.
The Final Mix.
Timing.
The Digital Future is Now.
III. MOVIE MUSIC, BY PATRICK WILLIAMS.
15. The Right Music in the Right Place at the Right Time.
Early Meetings.
Enter the Machine.
Dealing with Temp Music.
The Composer and the Film Editor.
The Music Supervisor.
16. Preparing to Compose.
The First Look.
The Emotional Thrust of the Film.
Pace, Tempo, and Rhythm.
Genre and Style.
Developing and Presenting the Concept.
Spotting and the Music Editor.
17. Composing.
Getting Started.
Scoring a Scene.
Expressing Emotion.
Sustaining Pace.
18. Finishing.
Approving the Score.
Working with Sound Effects.
The Scoring Session.
Soloists.
Dubbing.
19. A Career as a Film Composer.
Natural Ability.
Preparing for the Call.
Gaining Experience.
The Demo CD.
Agents.
Payday.
Appendix A: A Typical Production Chart of Accounts.
Appendix B: List of Cited Films.
A Glossary of Film and Television Terms.
List of Illustrations.
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