Index

A

Academy aperture, 134, 405

acquisition of media

computers and, 89–90

data transfer, 100–103

grading during, 302, 311n

methods for, 100

photographic sources, 120–140

from video sources, 115–120

action-safe region, 432–433

adaptive interpolation, 376–377

additive method of color mixing, 71, 271

Adobe, 2–3, 156, 461

aliasing, 339, 428, 439–442

Alienbrain system (NXN), 196

Allegorithmic’s Map Time, 379–380

alpha channels, 72–73, 251

analog-to-analog conversion, 129

analog-to-digital conversion

digitization and, 105–118

media acquisition, 100–104, 115–116

anamorphic film, 134–136

animatics, 478

animation

digital intermediates and, 471–472

guidelines for, 495

image-based lighting, 492–494

keyframes and, 299

virtualized reality, 494

watermarks and, 388

answer prints, 437

Antics Technology, 479

aperture correction, 352–353

Apple’s iTunes, 425

archiving, 417–420

Archos AV4100 storage device, 466

Arrilaser Speed Performance recorder, 404

artifacts

clipping, 273

quality control and, 440–447

ASCII text files, 383

aspect ratio

defined, 56–58

outputting multiple versions, 420–422

panning and scanning, 421

panoramic images and, 484

pixels, 66–67

quality control and, 431–432, 437

video output, 399

widescreen vs. fullscreen, 486–488

asset management

backups, 202–206

collaboration, 190–196

computer systems, 144–147

database-driven, 196

data operations, 182–187

data organization, 160–165

data storage, 166–167, 207–209

data tracking, 178–182

data volatility, 143–144

digital conforming systems and, 226–227

file formats, 153–156

files, 148–152

folders, 148–149, 162–163

image measurement, 196–200

managing other assets, 209–210

multiple resolutions, 187–189

naming conventions, 156–160

network paradigms, 168–177

problems, 200–202

Assimilate’s Scratch, 451, 452

attributes, file, 149–150, 164–165

audio

panning and scanning, 423

video output and, 297

Autodesk

Combustion software, 189

Fire, 420

Lustre system, 230, 302

Automatic Duck’s Pro Import line, 238

averaging methods, 341–343

Avid’s Xpress Pro system, 291

B

background plates, 251–252, 311

back tracking, 263

backups

asset management, 202–206

data recovery, 207

file permissions and, 152

FireWire, 205

banding, 443

bandwidth

digital formats and, 415

FireWire backups and, 205

interlacing and, 29–30

video images and, 24

barcodes, 138, 209

barrel distortion, 327–328, 482

batch capture mode, 242

BBC (British Broadcasting Corporation), 428, 437

bilinear interpolation, 374–375

binary format, 64–65

bit depth, 70, 74

bit rates, 411–412, 416

Bittorrent protocol, 470

black frames, 252–253, 373

black point, 429

bleach bypass process, 316–317, 476–477

Blog Torrent (Downhill Battle), 470–471

blooming, 354, 442

blue-green transfers, 317, 319

blurring

aliasing and, 339, 442

blooming and, 442

chromatic artifacts, 442

composite grading, 309–310

digital repair techniques, 354–355

sharpening and, 353

temporal interpolation and, 362–363

3D effect, 381

watermarks and, 388

Bones (Thomson), 249–250, 368–369, 422

brightness. See also luminosity

changing colors and, 303

color grading, 304

continuity grading, 310–311

film scanners and, 122

gamma correction and, 110–111

saturation and, 268–269

British Broadcasting Corporation (BBC), 428, 437

B-rolls, 225, 233, 370–372

b-spline interpolation, 375–376

buffered video, 416

burnt-in timecode, 39–40

C

C-41 processing, 317

caching files, 151, 165

calibration

color management, 274–276, 282, 287

color rendition and, 448–449

color temperature and, 278

digital film and, 407–408

film recorders, 405

flesh tones and, 308

camera shake, 373

captions, 383, 423, 423n

cathode ray tube (CRT), 22

CCD (charged coupled device)

blooming and, 442

film scanners, 120–121, 280

noise and, 444

pixels and, 66

video cameras, 23–24

video damage, 333

Celco Fury recorder, 405–406

celluloid film, 91n

CG (computer-generated) images, 64, 286, 379, 381

channel mixing, 303–304

channels

alpha, 72–73, 251

color range and, 112–113

digital images, 71

layered images and, 74–75

3D CG images and, 379

character generators (cages), 432

character sets, 383–384

charged coupled device. See CCD

check-in process, 194

check-out process, 194

checksum verification, 195, 262

chemical process

color casts and, 312–313

enhancement with, 316

film damage, 330

film images, 44–45

lab process emulation, 316–318

chromaticity

component, 271

illegal colors and, 431

sharpening and, 353

chroma key, 489–491

chroma scaling, 186

chromatic artifacts, 442–443

CIE color model, 271, 458

Cineon format

archiving and, 418

color model and, 155

digital intermediates and, 125

file format translation, 183

film scanners and, 122–124

HDR and, 457

clamping, 337

clapperboards, 138

client/server model, 169–171

clipping

artifacts, 273

color grading and, 290, 440

color space conversion and, 186, 280

digital image damage, 338

cloning, 343–344, 347, 350–351

closed captions, 383, 423

clustering, 175–177

CMX 3600 EDL format (Sony), 219, 419

CMYK color model, 71, 109, 279

codecs, 411–412, 414, 419

collaboration, 189–196

collapsed frames, 159–160

color

accurate rendition of, 448–449

changing, 303–304

chroma key, 489–491

chromatic artifacts, 442–443

compression and, 81–83

digital images, 8, 70–72

flesh tones, 308

gradients, 306

grading flashes, 258

guidelines for, 496

human eye and, 99

illegal, 398

legal, 398

matching, 308–309

photographic film, 54–55

posterization, 338

resolution vs., 112–114

retouching, 312–313

of text, 385

tonality and, 69–70

video format, 31–37, 41

color balance

blue-green transfers, 317

calibration and, 275–276

continuity grading, 310–311

digital film and, 408

exposure and, 448

of film stock, 275, 278

luminosity, 307

vectorscopes and, 307

color banding, 290

color bars, 276

color cast (tint). See tint

color charts, 276, 308

ColorChecker chart (Macbeth), 276

color correction. See color grading

color cubes, 281–282

color grading. See also digital color grading

colorization, 319–321

color management, 265–284

color retouching, 312–313

color suppression, 316

conforming and, 243, 230n

continuity grading, 311

curve-based, 307

damage and, 321–322

day-for-night, 314

digital, 284–310

digital conforming systems and, 227

effects and, 371–373

enhancement, 316

exposure and, 448

false color, 320, 321

film production, 6

HDR images and, 459–460

lab process emulation, 316–318

LUTs and, 280

printer lights, 318–319

procedures for, 310–321

reconforming and, 258

relighting, 314–316

standardization and, 419

telecines and, 129–130

video looking like film, 493

colorimetry, 268–272

colorization, 319–321

color management

calibration, 274–276, 282

colorimetry, 268–272

color perception, 266–268

color reproduction, 273–274

correlated color temperature, 278–279

gamma correction, 276–277

lookup tables, 279–282

overview, 265–266

systems for, 282–284

color matching, 308–311

color mixing, 70–71

color models. See specific color models

color perception, 266–268, 273, 281–282

color precision, 112

color reproduction, 273–274

color space

computer monitors and, 462–463

conversions, 185–187

digitization and, 108–109

file formats and, 210n

film scanners and, 122

HDR images and, 125, 460

independence of, 286

LUTs and, 279–281

media acquisition and, 116, 278n

media and, 273

nonlinear, 109–110

video output, 398

color suppression, 316

color temperature, 278–279

color timing. See color grading

color wheel, 272

Combustion software (Autodesk), 189

command-line computer program, 226n

compatibility

archiving and, 419

EDLs, 219, 237–238

compression

damage and, 117–118, 336, 339

data corruption and, 340

digital formats and, 81–85, 415

digital mastering and, 410–412

lossless, 82, 86

lossy, 82

motion, 84–85

online edit and, 212–213

video images, 33–34, 41

visually lossless, 82–84

compression ratios, 97–99

computer-generated images. See CG images

computer technology

acquisition and, 89–90

backups, 202–206

binary format, 64–65

collaboration and, 190–196

communication, 146

data operations, 182–187

data recovery, 207

data storage, 145–146, 166–167, 207–208

data tracking, 178–182

data transfer, 103

denial of service attacks, 210n

digital intermediates and, 4–5

digital slates, 190

feature tracking and, 300

file formats, 153–156

files and folders, 148–152

future of, 456

gamma correction and, 114

input and feedback, 146–147

lag of frames, 87

multiple resolutions, 187–189

multitasking, 177

networks, 168–177

number crunching and, 89–90

number sorting, 158

operating systems, 147

problems, 200–202

processors, 144–145

rendering and, 393–395

video signals, 25

virtual cinematography, 475

conforming

assigning timecodes to scanned film, 241–242

back tracking, 263

B-rolls and, 225

color grading and, 291–293

consolidation, 263

cut lists and, 219

data, 235–238

digital media, 253–254

digital system interfaces, 245–247

digital systems, 226–230

dust busting and, 346

EDLs and, 219

from film, 215–217

fine-cut, 231–233

handles and, 225

layers and, 250–251

from master source reels, 233–235

motion effects and, 223–225

multiple timelines and, 248

offline reference, 262–263

from original source reels, 233

placeholders and, 251–252

playback and, 243–244

pulldowns, 217–218

reconforming, 258–259, 261

re-editing and, 254–257

referenced data, 238–239

resolution independence, 247–248

scanned film using key numbers, 240–241

transitions and, 219–223, 366–368

vertical editing, 248–250

from video, 212–215

video using timecodes, 239–240

contamination, light, 332

continuity, quality control and, 449

contrast

changing colors and, 303

color grading and, 290, 304

continuity grading, 310–311

cross-processing and, 317

film scanners and, 122

gamma correction and, 110

guidelines for, 496

interpolation and, 375–376

silver retention and, 316–317

conversion

analog-to-analog, 129

analog-to-digital, 100–101, 103–115

of color space, 185–187

data transfer and, 101

file format translation, 183–184

film-to-video. See telecine

frame rate and, 60, 217–218, 397–398

standards converter, 429

transcoding and, 409–410

video-safe colors, 398

video standards, 25

video-to-film, 15, 374

convolution, 76

copying

generation loss, 7, 41, 59, 91

quality and, 101

copy protection, 424–426

copyrights, 383, 388

Correct (MTI), 347, 349

correlated color temperature, 278–279, 278n

crash recording, 395

crawling text, 386

creative control, 17, 452

credits, text and, 382–383, 386

Cristalink’s Firestreamer, 420

cropped images

panning and scanning, 421

quality control and, 432n, 433n

safe areas and, 432–433

video output and, 399, 402

cross-processing film, 317–318

CRT (cathode ray tube), 22

crystals

film images, 44–45

film stock and, 52

graininess and granularity, 52–54

cut lists, 137–138, 219, 240

cuts

photosensitive epilepsy and, 437

reconforming, 258–259, 261

soft, 220n

as transitions, 219–220

D

dailies, digital, 131–133, 233, 472–473

damage

arrayed storage and, 167

asset management and, 200–202

from color grading, 321

color retouching for, 312–313

data corruption and, 84, 98, 260

digital images, 337–339

digital intermediates and, 5

digital tape, 117–118

from EM radiation, 208

film material, 327–333

frame patching, 257

from handling, 215

insurance considerations, 233

optical problems, 327

physical, 61–62, 91

rescanning and, 204

restoration process, 191–192

during scanning process, 135

video material, 333–337

data

back tracking, 263

conforming, 235–238

referenced, 238–239

database-driven asset management, 196

datacines, 129–131

data corruption

checking for, 180

compression and, 340

as damage, 84, 98, 260

digital images, 84, 325–326, 337

file formats, 155

data operations, 182–187

data organization, 160–165

data recovery, 207

data storage. See storage

data swarming, 470

data tracking

asset management, 178–182

date and time, 178–179

file size, 180

image thumbnails, 180–182

metadata, 180

ownership, 179

data transfer

checksum verification, 195

conforming and, 237–238

media acquisition, 100–103, 115–116

quality of, 101

speed of, 182

data transport, 8

data volatility, 143–144

date and time, tracking, 178–179

Da Vinci’s Resolve system, 310

day-for-night process, 314

DCDM (digital cinema distribution master), 413

DCI (Digital Cinema Initiative), 469

D-Cinema. See digital cinema

DCP (digital cinema package), 469

definition, video, 26

defocusing, 354–355

degradation

chromatic artifacts, 442–443

color casts and, 312–313

digital intermediates and, 325

digital internegatives and, 407

file format translation and, 183–184

film material, 215, 327

filters and, 379

texture and, 357

transcoding and, 410

watermarks and, 388

deinterlacing, 359–360, 434

deliverables, business model, 472

denial of service attacks, 150n

density range, 111

depth recording, 488–489

detective quantum efficiency (DQE), 97

DF (drop-frame) timecode, 39–40, 158

difference mats, 453

digital cinema (D-Cinema), 19, 424, 469

digital cinema distribution master (DCDM), 413

Digital Cinema Initiative (DCI), 469

digital cinema package (DCP), 469

digital color grading

changing colors, 303–304

color matching, 308–309

color suppression, 316

composite grading, 309–310

curve-based, 307

dynamic grading, 299

exposure problems and, 312

feature tracking, 300–302

global grading, 293–294

gradients, 306

grading priority, 309

highlights, 304–306

histograms, 307

mathematical operations, 285–287

mid-tones, 304–306

need for, 288–289

overview, 291–293

quality control and, 440

relighting and, 314–316

rotoscoping, 300

secondary grading, 294–296

shadows, 304–306

virtual cinematography, 477

digital conforming systems

fine-cut conforming, 226–230

interfaces, 245–253

overview, 226–230

paradigms with, 231–243

digital dailies, 131–133, 233, 472–473

digital devices, 138–139, 100n

digital effects

filters and, 379, 381

optical effects, 366–372

particle systems, 382

repositioning, 372–378

resizing, 372–378

watermarks, 386–388

digital format

acquisition of media, 90–100

advantages, 131–133

alternatives to raster images, 77–80

calibration and, 276–277

captions, 423

color grading, 284–310

colorimetry and, 271

color reproduction and, 273–274

color space, 108–109

compression, 81–85

conforming, 253–254

convolution, 76

creating, 64

damage to, 337–339

data corruption, 84, 326

digital conforming systems and, 226–230

digital intermediates, 16, 63–64

dropped frames, 87–88

editing process, 3

encryption, 88

file formats, 80–81

future of, 455–465

gamma information and, 111

generation loss and, 407–408

increasing brightness, 75–76

mapping, 405

megapixels, 129

metadata, 86

motion, 74–75

noise and, 443–445

outputting, 415

outputting to film, 404

overview, 64–72

preset speed, 102

problems, 86–88

quality control, 437–439, 451–453

quantization of information, 87

rendering, 85

repair techniques, 341–363

scan dimensions, 125

transparency, 72–74

virtual cinematography, 480–491

watermarking, 85–86

digital intermediates. See also computer technology

advantages, 6–9

altering sequence, 372–373

archiving and, 420

business model, 471–473

Cineon/DPX images, 124–125

color perception and, 282

conforming and, 233

creative control, 17, 452

data volatility, 143

defined, 2–3

dependencies, 193–194

digital cinema, 19

digital conforming systems and, 226–230

digital images, 16, 63–64, 75

EDLs and, 242–243

file formats and, 156

film production, 5–6, 11–13

fine-cut conforming and, 232

4k, 464–465

future of, 465–468

image warping, 355

live production, 15–16

LUTs and, 279–280

media acquisition, 81, 114–115

naming conventions, 156–160

progressive image formats, 30

QC fixes, 257

quality, 18

rendering and, 395

retimed speed, 368–369

sharpening and, 353

telecine, 9–10

video editing, 3–5

video production, 13–14

video-to-film conversion, 15

virtual cinematography, 496–497

visual effects and, 494–495

digital internegatives, 407, 408

digital interpositives, 407

digital mastering. See digital source master

Digital Negative (DNG) specification, 461

digital paint, 343–344, 347, 338n

digital post-production, 492–495

digital pre-production, 477–479

digital projectors, 463, 469n

digital remastering, 232, 332–333. See also digital source master

digital repair techniques

blurring, 354

defocusing, 354

deinterlacing, 359–360

digital paint, 343–344

dust busting, 344–350

image averaging, 341–343

image warping, 354–357

motion stabilization, 361–362

overview, 339–341

scratch removal, 350–352

sharpening, 352–353

temporal interpolation, 362–363

texture reduction/addition, 358–359

digital rights management, 8, 425

digital signatures, 388

digital slates, 190

digital source master

archiving, 417–420

compression, 410–412

DCDMs, 413

digital formats, 415

DVDs, 413–414

encryption, 412–413

output, 408–409

streaming video, 415–417

transcoding, 116–118, 410

digital image playback, 243

digital zoom function, 107

digitization, 108–109

digital intermediates and, 114–115

dynamic range, 111–114

film scanners and, 120–123

interpolation, 107–108

from photographic sources, 120–140

sampling, 104–106

from video sources, 115–120

display LUTs, 279

dissolves

B-rolls, 225

color grading and, 371

defined, 367

fine-cut conforming and, 231

layering and, 250

optical effects and, 267

referenced data and, 238

soft cuts, 220n

as transitions, 220–221, 223

video production and, 4

distortion

barrel, 327–328

image warping and, 354–355

pincushion, 328

video damage, 336

distribution, 468–471

downconverting, 397

Downhill 107–108, 184–185

DPX format

color model and, 155

digital intermediates and, 125

file format translation, 183

film scanners and, 122–124

HDR and, 457

DQE (detective quantum efficiency), 97

drop-frame (DF) timecode, 39–40, 158

dropout, 117, 334, 345

dropped frames

digital tape damage and, 117

frame rate and, 243

problems, 87–88

quality control and, 439

speed and, 102

drop shadow, 368

dubbed tapes, 215

dupe detection, 261

dust, 204, 330, 344–350

DV codecs, 419, 492

DVD (Digital Versatile Disc) format

archiving and, 419

captions, 423

compression and, 411–412

copy protection and, 424–426

multiple timelines, 248

outputting, 413–414

regional coding, 425n

streaming video and, 417

video images and, 25

DV Rack (Serious Magic), 482

dye layers, 54–55

dynamic grading, 299

dynamic range

computer monitors and, 462–463

defined, 36

digital film and, 461

digitization and, 111–114

human eye, 111, 457n

E

E-6 processing, 317

edge enhancement, 442

edit decision lists. See EDLs

editing. See also conforming

Adobe Photoshop and, 2–3

black frames and, 252–253

color grading and, 291–293

digital intermediates, 3–5

files, 150–151

film material, 215

fine-cut conforming and, 231–232

HD video, 13, 214

in-place, 194–195

insert, 396

nonlinear, 212, 245–248

offline. See offline editing

online. See online editing

quality control and, 450–451

re-editing, 254–257

vector graphics and, 78

vertical, 248–250

EDLs (edit decision lists)

acquisition, 242

black frames, 252

conforming and, 219, 231–240, 241–242

consolidation and, 263

digital media, 253–254

film scanners and, 128

locked pictures and, 256–257

mathematics for, 242–243

motion effects, 224, 370

quality control, 450

reconforming and, 258–259, 261

shots and, 297

Sony CMX 3600 EDL format, 219, 419

transitions and, 220, 223

effects. See also specific types of effects

fade, 353, 386

fast-motion, 60

flicker, 60n, 87

OFX system, 382

online editing and, 214

slow-motion, 60

video editing and, 4

electromagnetic (EM) shielding, 209

empty frames. See black frames

EM (electromagnetic) shielding, 209

encryption

copy protection and, 425–426

digital images, 85–86

digital mastering and, 412–413

security and, 8

end rollers, 383, 386

enhanced 2k resampling, 127

enhancement, image, 316

error reporting, 262–263

exposed film, 47, 404–405

exposure

changing colors and, 303

digital color grading and, 312

guidelines for, 496

quality control and, 448

video looking like film, 493

exposure index rating, 52n

Extended Dynamic Range (OpenEXR), 418, 460

extensible markup language (XML), 383

eye matching, 262–263

ez-D discs (Flexplay), 426

F

fade effects, 251, 353, 386

false color, 320, 321

false negatives, 348

false positives, 348

feature tracking, 7, 300–302

feedback mechanisms, 146–147

fields

defined, 29

frames and, 119–120, 434

quality control, 434–435

reconstructing, 402–403

video images, 24

Fieldskit software (RE:Vision), 360

file formats

archiving compatibility, 419

color models and, 155n

color space and, 460

compatibility, 153

computers, 153–156

efficiency, 153–154

gamma values, 277

open-source, 154–155

robustness, 154–155

translating, 183–184

files

accessing, 150–151

attributes for, 149–150

backups of, 202–206

caching, 151

checksum verification, 195

compression and, 410–412

computer systems and, 148–152

encryption and, 412–413

locked, 393

manipulating, 148

permissions and, 151–152

statistical information, 197–198

file size

compression and, 81–82

digital images, 66–69

lossless compression and, 98

Nyquist frequency and, 126–127

tracking, 180

file transfer protocol (FTP), 99, 416

film format. See also photographic film

color grading, 304

color space, 280

conforming from, 215–217

cross-processing, 317

damage to, 327–333

digital intermediates, 5–6, 11–13

duplicating materials, 215

frame-rate conversion, 217–218

luminance and, 281–282

outputting, 404–408

quality control and, 428

rescanning, 259–260

scan EDLs, 242

strobing effect, 444

text and, 386

video looking like, 492–494

video-to-film conversion, 15

video vs., 480–481

Filmlight’s Truelight system, 282–283

film-out, 404–408

film recorders, 404–408

film scanners, 120–121, 280

edit decision list, 128

enhanced 2k, 127

file format translation, 183

forward planning, 137

HDR images and, 125

photographic film, 120–123

punch holes and, 127–128

scan dimensions, 125

scanner gauges, 134

splices, 128

telecines and, 129–131

wet-gate, 351

film stock, 48–55, 275, 278, 464

film-to-video conversion. See telecine

filtering

color management and, 275

digital conforming systems and, 226

digital images, 7, 378–379, 381

guidelines for, 496

noise reduction, 7

photographic emulation filters, 481–484

texture recovery and, 358

video looking like film, 494

fingerprints, 388

Fire (Autodesk), 420

Firestreamer (Cristalink), 419–420

firewalls, 209

FireWire, 439–440

FlashPix format, 154

flesh tones, 308, 319

Flexplay’s ez-D discs, 426

flicker effect, 60n, 87

flips, 366, 368

floating-point images, 459

flops, 366, 367–368

focus, 353, 496

fogging, 332, 381

folders

computer systems and, 148–149

conforming video, 239

organizing, 162–163

font, 384

format independence, 248

4k digital intermediates, 464–465

4-perf format, 56

Fourier interpolation, 376

fractal images, 80, 376

fractal interpolation, 376

frame hold, 224

frame numbers, 157–158, 241n

frame patching, 257–258

frame rate

converting, 60, 217–218, 397–398

defined, 28

dropping frames and, 243

frame numbers and, 241n

guidelines for, 497

media acquisition and, 114

motion and, 75

photographic film, 60

quality control and, 432–433, 451

temporal artifacts, 445–447

temporal interpolation and, 363

frames

aspect ratio and, 56–58

background rendering, 394–395

black, 252–253

blurring and, 354

bouncing, 128

collapsed, 159–160

damage to, 326, 347

defined, 28

deinterlacing, 434

dropped, 87–88, 102, 117, 243, 439

feature tracking, 301

fields and, 29–30, 119–120, 434

film scanners and, 137

flash, 439–440

gaps in, 159–160

handles, 225, 231

keyframes, 299

key numbers, 216, 240–241

lag of, 87

lossy compression, 410–411

mapping, 405

motion and, 75, 223–224, 370

patching, 257–258

pin registration, 136

pulldowns, 398

recording, 404

registration of, 204

retimed speed, 368–369

saving considerations, 162

scratch removal, 350–351

slates and, 437

sprockets and, 47

stuttering, 87–88

televisions displaying, 29

timecode and, 213–214, 241–242

video images, 24

video looking like film, 493

framing chart, 432

freeze frame, 224, 370

frequencies

interpolation and, 376

modulation transfer function and, 96

photosensitive epilepsy and, 437

FTP (file transfer protocol), 99, 416

full aperture format, 56–57, 431–432

fullscreen format

aspect ratio and, 431–432

considerations, 486–488

outputting, 421

resizing/repositioning, 372

Fury film recorder (Celco), 405–406

G

gain, 303

gamma correction

changing colors and, 303

color management, 276–277

digital video and, 32–33

digitization and, 110–111

gamut. See color space

gates, 56

gauges, 55, 134

GenArt

Saphire RackDeFocus, 354

Sapphire filters, 379

generation loss

copying film and, 215–216, 407–408

digital repair and, 341

integrating changes and, 391–392

noise and, 335

photographic film, 59

quality degradation, 61–62, 91

video formats, 7, 41

ghosting, 335–336

GIF format, 81, 154

global grading, 293–294, 310–311

GPU (graphical processing unit), 145

gradients, 306

grading flashes, 258, 298

grading list, 122, 202, 291–292

grading metadata, 291–292, 322

grain, 351, 357–359

graininess

photographic film, 52–53, 59

video looking like film, 494

granularity

film damage, 331–332

modulation transfer function and, 94–96

photographic film, 52–54, 59

graphical processing unit (GPU), 145

H

H.264 standard, 415

handles, 225, 231

hard drives, 166

HDCAM SR format (Sony), 481

HDR (high dynamic range) format

color digital images, 71

color spaces and, 125

future of, 457–462

HDTV format, 26

HDV format, 26

HD (high definition) video

aspect ratio, 399

as capture media, 480–481

definition, 26

editing process, 13, 214

interlacing and, 30

outputting, 397

resolution, 27, 188

timecodes, 39–40

headroom, 34–35

high definition (HD) video. See HD video

high dynamic range format. See HDR format

highlights, 290, 304–306, 317

histograms, 199–200, 307, 451

HLS model, 71

hot-swappable drives, 166

HTTP protocol, 416

hue

changing colors and, 303

color matching, 308–309

color wheel and, 272

cross-processing and, 317

defined, 270

keying, 295–296

hum, 335–336

human eye

color perception and, 266–268

dynamic range, 111, 457n

enhancing, 316

color space and, 109

inaccuracies in, 99

strobing effect, 445

yellow spot, 99n

I

Idruna

Photogenics system, 462

Speedduster, 347–348

illegal colors, 398

image averaging, 341–343

image damage. See damage

image filters, 378–379

image measurement, 196–200

images

backups for, 204–205

calibration, 274–276

cropped, 399, 402, 432n, 433n

digitizing, 108

enhancing, 316

floating-point, 459

gamma values, 277

indexed-color, 81–82

layering, 205–251

letterboxed, 400

manipulating, 99

mat, 300

overwriting, 191–193

panoramic, 484–485

placeholders, 251–252

proxy, 187–189, 207–208, 244

quality control, 447–450

recomposed, 373

resizing, 184–185

resolution independence, 247–248

reversing, 366, 367

rotoscoping, 300

squaring, 310

tagging, 7

thumbnails, 180–182

tinting, 306

versioning, 191–193

video. See video format

image scaling, 184–185

image stabilization, 136

IMAX format, 405

Industrial Light & Magic, 460

infrared imagery, 321, 352

ingest of media. See acquisition of media

in-place editing, 194

insert editing, 396

instant seek, 7

interfaces, 293

interframe compression, 411

interframe damage, 326, 344

interframe encoding, 117–118

interlacing

defined, 29

deinterlacing, 359–360

progressive scan and, 29–30, 119

reinterlacing, 402–403

video damage, 335

internegative copies, 6

Internet

distribution over, 469–471

firewalls and, 209

streaming video, 411, 415–417

interpolation

defined, 81

digitization and, 107–108

motion, 223–224

temporal, 362–363

interpositive copies, 6

intraframe compression, 410–411

intraframe damage, 326

inverse telecine, 218

invisible watermark, 388

ISO system, 52, 52n

iTunes (Apple), 425

J

JPEG format

archiving and, 418

compression and, 82

file format translation, 183

quality and, 97

robustness, 154

K

kerning, 385

keycodes. See key numbers

keyframes, 299

keying, 295–296, 309–310

key numbers

conforming using, 240–241

cut lists and, 219

digital media and, 253

master source reel and, 234

motion picture film, 216

photographic film, 60–61, 138

Kodak

Look Manager System, 322

Vision 2 HD film stock, 464

L

Lab color model, 271, 286

lab process emulation, 316–318

lag of frames, 87

LAN (local area network), 171–172

Lanczos interpolation, 376

latent images, 46

layers

conforming and, 250–251

digital images, 74–75

dye, 54–55

organizing, 164

rendering, 85, 393n

vertical editing and, 250

legal color, 398

lens flare, 327n

letterboxed images, 400

lift (pedestal), 303

lifting shots, 255

light

color casts and, 312–313

color images and, 31

color perception and, 266–268

color reproduction and, 274

color temperature of, 278–279

contamination by, 61

feature tracking and, 301

film images and, 45

film stock and, 48

flickering and, 60n, 87

gates and, 56

human eye and, 99

image-based, 492–494

latent images and, 46

luminance and, 32

masks for, 56

photographic film and, 124

photosensitive epilepsy and, 437

tonal range and, 48–51

video cameras, 23–24

video looking like film, 493

virtual cinematography, 476

light contamination, 332

light meters, 272

line transfer method, 29

live production, 15–16

live recording, 395

local area network (LAN), 171–172

locked pictures, 256–257, 393

LogLuv method, 460

logs, recording, 436–437

longitudinal timecode (LTC), 38

look management, 322

Look Manager System (Kodak), 322

lookup tables. See LUTs

lossless compression

data organization and, 161

defined, 82

digital mastering and, 410

digital repair and, 340, 349

encryption and, 86

quality and, 97–99

visually, 82–84

lossy compression

defined, 82

digital artifacts and, 440

digital mastering and, 410

digital repair and, 340–341

video damage and, 339

LTC (longitudinal timecode), 38

luma scaling, 186

luminance

colorimetry and, 268, 271

computer monitors and, 462–463

defined, 32

dynamic range, 36

film format and, 281–282

grayscale wedge and, 275

human eye and, 99

illegal colors, 431

keying, 296

light meters and, 272

measuring, 268n

noise and, 440

television and, 23–24

YUV color system, 31

luminosity. See also brightness

CIE model, 271

color balance, 307

color grading and, 304, 307

colorization and, 321

color matching, 308–309

HDR images and, 457

HLS model and, 71

Lab color model, 286

masks based on, 295

of pixels, 70

sharpening and, 353

Lustre system (Autodesk), 230, 302

LUTs (lookup tables)

acquisition and, 124

color management, 279–282

color space conversion and, 186

false color, 321

3D, 281–283

video output, 398

Luv color model, 271

M

Macbeth ColorChecker chart, 276

magic wand tool, 297

Map Time (Allegorithmic), 379–380

masks

color grading and, 295

composite grading and, 309–310

feature tracking and, 302

keying and, 295–296

light and, 56

master source reels, 233–235, 241–242

mathematical operations, 285–287

mats

blur effect, 310

defined, 300

difference, 453

measurement

color, 268–273

image, 196–200

of luminance, 268n

media acquisition. See acquisition of media

megapixels, 126–127

metadata

digital images, 86

dust busting and, 350

grading, 291–292, 322

tracking, 180

mid-tones, 304–306

mirrored storage, 205–206

M-JPEG compression, 411

modulation transfer function (MTF), 94–96, 108

moiré, 339

monitors

calibrating, 276–277, 278, 287

gamma correction and, 111

limitations of, 462

motion

chroma key and, 491

color grading and, 298

compression and, 411

digital images, 74–75

interlacing and, 360

smooth, 449–450

motion blur, 446, 446n, 494

motion compression, 84–85

motion effects

B-rolls, 225

conforming and, 223–225, 370–370

fine-cut conforming and, 231

frame-rate conversion and, 398

photosensitive epilepsy and, 437

re-editing and, 257

motion interpolation, 223–224, 347

motion stabilization, 136, 361–362

movement. See motion

MPEG format, 411, 415, 425–426

MTF (modulation transfer function), 94–96, 108

MTI’s Correct, 347, 349

multitasking, 177

MXF file format, 119

N

naming conventions, 156–160

NDF (non-drop-frame) timecode, 39–40, 158

nearest-neighbor interpolation, 374

nearline storage, 208

negative cut, 11

negative images

copied film, 215

dust busting, 346

dye layers, 54–55

film scanners and, 135

photographic film, 46–47

networks

asset management, 168–177

wireless, 176–177

noise

chromatic artifacts, 442–443

color grading and, 321–322

damage and, 334–335, 339

digital artifacts and, 443–445

digital images, 325

digital repair techniques, 342

luminance and, 440

motion blur and, 446n

texture recovery, 357–358

video looking like film, 494

noise reduction, 7, 335, 338, 444

non-drop-frame (NDF) timecode, 39–40, 158

nonlinear editing, 212, 245–248

NTSC standard

converting film to, 398

field rate, 30

frame rate, 432

overview, 23, 25

quality control and, 429

resolution, 27

timecodes, 39–40

YIQ color system, 31

numbering system, 213–215

number padding, 158–159

NXN’s Alienbrain system, 196

Nyquist frequency, 126–127

O

offline editing

color grading, 291–293

conforming and, 213–215

data transfers and, 237–238

quality control, 450–451

timecode and, 241–242

offline reference, 262–263

OFX (open effects) system, 382

online editing

compression and, 212–213

motion effects, 223–225

timecode and, 214

transitions and, 223

online storage, 418

open effects (OFX) system, 382

OpenEXR (Extended Dynamic Range), 418, 460

opening credits, 382

operating systems, 147

optical effects

B rolls, 370–372

flips/flops, 366, 367

motion effects, 368–372

transitions, 366–368

optical problems, 327, 327n

out-point, 255

output

copy protection, 424–426

digital mastering, 408–420

film format, 404–408

multiple versions, 420–424

rendering, 391–395

video format, 395–404

widescreen vs. fullscreen, 486–488

overscan, 432n

overwriting images, 191–193

ownership, tracking, 179

P

padding, number, 158–159

PAL standard

frame rate, 60, 432

overview, 23, 25

quality control and, 429, 433–434

resolution, 26

timecodes, 38–39

YUL color system, 31

pan and scan, 402, 421–422, 432

Pandora’s Pixi Revolution system, 291

panoramic images, 484–485

Pantone, 271

particle systems, 382

pedestal (lift), 303

permissions, file, 152

persistent dropout, 334

Photogenics system (Idruna), 462

photographic film

anamorphic, 134–136

cleaning, 120

color casts and, 312–313

damage to, 326

density range, 111

film formats, 55–59

film scanners, 120–123

film speed, 48–51

film stock, 48–55

frame rate, 60

future of, 131–133, 463–464

handling more than once, 135

image formation, 45–47

key numbers, 60–61, 137–138

media acquisition, 120–140

pin registration, 136–137

problems, 61–62

punch holes, 127–128

quality, 59

scan dimensions, 125

scanner gauges, 134

splices, 128

storage and, 407

telecines, 129–131

timecode, 138

photosensitive epilepsy (PSE), 437

Photoshop (Adobe), 2–3, 156

Photozoom Professional software (Shortcut), 374

picture area, 432–433, 491, 497

picture dropout, 117

picture elements. See pixels

Picture Line-Up Generation Equipment (PLUGE), 274

picture shift, 329

pincushion distortion, 328

pin registration, 136, 329n

piracy, 8, 424–426

Pixar specification, 460

pixel aspect ratio, 66–67

pixels

aliasing, 339

alpha channels, 72

aspect ratio, 66–67

black frames, 253

clipping, 338

color, 70–71

color grading and, 285–287

defined, 65–66

digitization and, 106

HDR images and, 458–459

image measurement and, 198

increasing brightness, 75–76

interpolation and, 107, 374–378

layered images and, 74

magic wand tool, 297

mat images, 300

megapixels, 129

noise and, 334–335, 443–444

outputting digital images, 404

photographic film, 125

print resolution, 67

rendering and, 393

resizing images and, 184–185

sharpening, 352–353

spatial artifacts, 440–442

tonality, 69–70

transparency, 72–74

Pixi Revolution system (Pandora), 291

placeholders, 251–252

playback

color grading and, 291–293

comparing digital images, 450

conforming and, 238, 243–244

copy protection and, 424–426

streaming video, 415–417

PlayStation Portable (Sony), 415

PLUGE (Picture Line-Up Generation Equipment), 274

polarizing filters, 482–483, 485

polynomial interpolation, 375

portability, 466–467

positive images, 46–47, 135, 216

posterization, 338

post-production, digital, 492–495

post-roll, 215, 396

precision, 34–35

pre-production, digital, 477–479

pre-roll, 215, 396

pre-visualization, 478–479

primary grading, 293–294

printer lights, 318–319, 324n, 437

print resolution, 67–69

procedural filters, 378–379

processors, 144–145

production supervision, 473

progressive scan, 29–30, 119

Pro Import line (Automatic Duck), 238

proxy images (proxies)

conforming and, 244

multiple resolutions and, 187–189

storage and, 207–208, 188n

PSE (photosensitive epilepsy), 437

pulldowns, 217–218, 398

punch holes, 127–128, 241

Q

QC fixes, 257

Qedit (Quantel), 245–246

quadratic interpolation, 375

quality control

acquisition of media, 90–100

artifacts and, 440–447

color grading and, 290

compression and, 82–83, 97–99, 411–412

data transfer, 100–103

detective quantum efficiency, 97

digital artifacts, 440–447

digital devices and, 138–139

digital errors, 437–439

digital intermediates, 18, 91–92

digital process, 451–453

digitization, 104–115

editorial issues, 450–451

eye matching and, 262–263

flips/flops and, 366, 367

generation loss and, 61

internegatives, 6

interpolation and, 81

lossless compression, 97–99

modulation transfer function, 94–96

overview, 427–428

photographic film, 59

QC fixes, 257

resolving power, 92–93

signal-to-noise ratio, 96

speed and, 114–115

spread function, 93

streaming video, 417

texture recovery, 358

transcoding and, 410

video format and, 428–436

video output, 397

visual considerations, 447–450

Quantel’s Qedit, 245–246

quantization of information, 87

QuickTime movie files, 189, 410

quota management, 152

R

radio-frequency ID tags, 209, 436

RAID systems, 167

RAM (random access memory), 67, 103, 145

real-time data, 182

reciprocity law failure, 61, 332

record transmission errors, 335–336

re-editing, 254–257

reels, 47, 404–405

referenced data, 238–239

reference zones, 301

registration of frames, 204

reinterlacing video, 402–403

release prints, 436

relighting, 314–316

rendering

background, 394–395

color grading and, 292, 371

damage and, 337–338

dedicated, 393

digital images, 8, 85

distributed, 393–394

errors in, 437–438

flash frames and, 439–440

layers, 85, 393n

output, 391–395

QC fixes and, 257

repositioning, 372–378

reracking shots, 362

rescanning film, 259–260

resizing, 372–378, 388, 402

resolution

anamorphic film and, 134–136

color vs., 112–114

digital images, 67–69, 107

layered images and, 74

multiple, 187–189

photographic film, 59, 124–125

signal and, 24

spatial artifacts and, 440–442

television, 23

test patterns, 92–93

video images, 26–27

resolution independence

archiving and, 417–418

black frames, 253

conforming and, 247–248

fractals and, 376

Resolve system (Da Vinci), 310

resolving power, 92–93, 93n

retimed speed, 368–369

retouching and restoration

digital repair techniques, 341–363

image damage, 326–339

types of damage, 325

RE:Vision

Fieldskit software, 360

Twixtor software, 224

RFID (radio-frequency ID) tags, 209, 436

RGB color model

additive method of color mixing, 71

blue-green transfers, 317

color and, 23–24

color space conversion and, 185

digital intermediates and, 125

digital video and, 32–33

digitization and, 108–109

dye layers, 54–55

file formats and, 155

color space, 116

human eye and, 99

light and, 31

LUTs and, 279

video output and, 398

rich text format (RTF), 383

ringing, 353, 440

ripple edits, 255–256

roll-back process, 194

rolling text, 386

rotation, image, 366–367

rotoscoping, 300

RTF (rich text format), 383

rushes, 130–131, 233, 473

S

safe areas, 432–433

sampling

analog devices and, 104

changing resolution, 107

digitization and, 104–106

enhanced 2k method, 127

interframe, 378

keying and, 296

SAN (storage area network), 173–175

Saphire RackDeFocus (GenArt), 354

Sapphire filters (GenArt), 379

saturation

changing colors and, 303

color grading and, 288, 307

color matching, 308–309

color wheel and, 272

defined, 269

keying, 296

silver retention and, 316–317

scanned film

assigning timecodes to, 241–242

conforming, 240–241, 253–254

dust busting, 344–350

LUTs and, 279

scanning. See film scanners

scene extraction, 240

Scratch (Assimilate), 451, 452

scratches, 330–331, 350–352

SD (standard definition) video

archiving and, 419

aspect ratio, 399

defined, 26

editing, 214

resolution, 27, 188

search zones, 301

SECAM standard, 25, 429

security

computer systems and, 209

digital systems, 8

file permissions, 153

Serious Magic’s DV Rack, 482

shadows, 304–306, 317

Shannon sampling frequency, 126–127

sharpness

aliasing and, 441–442

blooming and, 442

chromatic artifacts, 442–443

digital repair techniques, 352–353

filtering for, 7

quality control and, 447–448

resizing images and, 184–185

ringing and, 440

video looking like film, 494

shoot and protect process, 488

shooting ratio, 225

Shortcut’s Photozoom Professional software, 374

shots

defined, 297

dynamic, 296–299

flash frames, 439–440

flipping/flopping, 366, 367

guidelines for, 496

reracking, 362

textless elements, 404

3-way dissolve, 36–367

shutter speed, 446, 493

signal-to-noise ratio, 34, 96

silver retention, 316–317

skip bleach process, 316–317

slates, 190, 436

slipped shots, 255–256

smearing, 411

SMPTE (Society of Motion Picture and Television Engineers)

calibration, 275

captions, 423

color bar, 276

correlated color temperature, 278

DPX format, 124

timecode format, 37, 423

SneakerNet, 175

Society of Motion Picture and Television Engineers. See SMPTE

soft clips, 186, 281

soft cuts, 220n

soft effects, 389

Sony

CMX 3600 EDL format, 219, 419

copy protection and, 425

distribution and, 471

HDCAM SR format, 481

PlayStation Portable, 414

SXRD projector, 463

sorting, number, 158–159

spatial artifacts, 440–441

Specter FS (Thomson), 243–244, 396

speed

adjusting, 369

data transfer and, 101–102, 182

file size and, 69

frame-rate conversion and, 397–398

lossless compression and, 98

motion effects and, 223

photographic film, 51–52

proxies and, 244

quality and, 114–115

storage area network and, 174

temporal interpolation and, 363

video format, 42

video looking like film, 494

Speedduster (Idruna), 347–348

spill, 490

Spirit 4k telecine (Thomson), 130

splices, 128, 255

spline interpolation, 375–376

split-screens, 4

spot-process colors, 271

spread function, 93, 184–185

sprockets, 47, 56, 437

squaring images, 310

squeezed images, 134–135

standard definition. See SD

standards

archiving formats, 419

digital formats and, 415

film formats, 55–59

lack of, 8

photographic film, 47

television, 22–23

VHS cassettes, 21

video, 25–26

standards converter, 429

star-burst effect, 482

static electricity, 91n

statistical information, 197–198

Steinbeck viewing device, 216

stereoscopy, 484–488

storage

asset management, 166–167, 206–208

black frames, 253

computer systems and, 145–146

data corruption, 337

data recovery and, 206

DCDMs and, 413

digital source masters, 417–420

encryption and, 412–413

frame-rate conversion, 398

future of, 466

mirrored, 205–206

of multiple resolutions, 188

nearline, 208

online, 419

photographic film and, 407

proxy images and, 188n

quota management and, 152

standardization and, 9

storage area network, 173–175

system security and, 209

video format and, 333

storage area network (SAN), 173–175

storyboards, 248, 478

streaming video, 411, 415–417

strobing effect, 445

stuttering, 87–88

subpixels, 339

subtitles, 423–424

subtractive method of color mixing, 70–71, 271

Super Video-CD (SVCD) format, 415

surface plots, 201, 309

SVCD (Super Video-CD) format, 415

SXRD projector (Sony), 463

synchronization

digital intermediates and, 7

dubbed tapes and, 215

frame-rate conversion, 217–218

offline reference and, 262

punch holes and, 127–128

quality control, 450–451

reconforming and, 258–259

ripple edits and, 255

storage and, 208

timecodes and, 37, 138

tracking and, 335

video output and, 396

sync point, 255

T

target bit rate, 411

tears, 331

telecine

digital intermediates, 9–10

inverse, 218

photographic film conversion, 129–131

timecodes and, 241

television

captions, 423

color systems, 31

DVD format and, 413

dynamic range, 111

flicker on, 87

history, 22–23

moiré effect, 339

safe areas, 432–433

strobing effect, 445

temporal artifacts, 445–447

temporal frequency, 26–31

temporal interpolation, 362–363

temporal positioning, 423

text

character set, 383–384

color of, 385

depth of, 385

kerning, 385

layering and, 251

positioning, 386

size of, 384–385

titling and, 382–383

typeface for, 384

variations for, 385

textless elements, 404

texture recovery, 351, 357–359

Thomson

Bones conforming system, 249–250, 368–370, 422

Specter FS digital viewing system, 243–244, 396

Spirit 4k telecine, 130

3D objects

CG images, 379

color cylinder, 272

depth recording, 489

HDR format and, 457

image-based lighting, 492

layering and, 251

LUTs, 281–282, 283

stereoscopy and, 484

surface-plot graphing, 309

text and, 385

virtual cinematography, 479

virtualized reality, 494

thumbnails, 180–182, 245–247

TIFF format

compression methods and, 98

encoding methods, 154n

extended color space and, 460

file format translation, 183

robustness, 154

timecodes

assigning arbitrarily, 214

assigning to scanned film, 241–242

back tracking via, 263

black frames, 253

burnt-in, 40–41

captions and, 423

conforming and, 236, 239–240

drop-frame, 39–40

dubbed tapes and, 215

embedding, 119

frame numbers and, 241n

frames and, 213–214

master source reel and, 234

media acquisition and, 118–119

naming conventions, 157–158

non-drop-frame, 39–40

photographic film and, 138

quality control, 35, 450

reconforming and, 258–259, 261

recording logs and, 435

scene extraction, 242

support for, 38

telecine and, 241

video damage, 336

video format, 37–41, 91n, 214, 216

virtual reels, 257

timecode slate, 138

timed text elements, 423–424

timelines

black frames, 252

editing systems and, 245–246

frame patching, 257

multiple, 248

offline reference and, 262

re-editing and, 255

slipped shots and, 256

timestamps, 178–179, 178n

time-warping, 223

timing reports, 438

timing shift, 439–440

tint

changing colors and, 303

color grading and, 306

color temperature and, 278

grading priority and, 309

problems with, 312–313

titles, 403

title-safe region, 432–433

titling, 214, 382–387

tonal range, 48–51, 304–306

tracking

guidelines for, 495

video damage, 335

watermarks and, 388

tracking data. See data tracking

tracks

ripple edits and, 255

vertical editing and, 249

video output and, 396

tramlines, 331

transcoding, 183–184, 409–410, 419

transitions

conforming and, 219–223

fine-cut conforming and, 231

masks and, 295

optical effects, 366–368

slipped shots and, 256

translation. See conversion

transmission, 335–336, 415–417

transparency, 72–74, 250

Truelight system (Filmlight), 282–283

Truevision Targa format, 418

Twixtor software (RE:Vision), 224

typeface, 384

U

uncompressed data, 340–341

unsharp masking, 352–353

upsampling

defined, 107

example, 108

image scaling, 184–185

resolving power and, 93n

V

VCD (Video-CD) format, 415

VCRs (video cassette recorders), 3–4, 26, 335

quality control, 428, 431

signal faults, 435

standards and, 23, 429

timecodes, 435

vector graphics, 76–79

vectorscopes, 122, 272, 307

version control, 249

versioning images, 191–193

vertical editing

black frames, 252

conforming and, 248–250

frame patching, 257

reconforming and, 258

vertical interval timecode. See VITC

VHS cassettes, 21

video cassette recorders. See VCRs

Video-CD (VCD) format, 415

video format

black point, 430

buffered, 416

captions, 423

capture EDLs, 242

color, 31–37, 41

color grading, 304

color space, 280

compression and, 411–412

conforming from, 212–215

creating, 23–25

damage to, 326, 333–337

data transfer and, 105

degradation, 215

digital intermediates, 3–5, 13–14

digital video, 42–43

dropout, 334, 345

film vs., 480–481

fine-cut conforming and, 232

formats, 21

frame-rate conversion, 217–218

limitations, 41–42

looking like film, 492–494

media acquisition, 115–120

offline reference, 262

outputting, 395–404

quality control, 428–436

reinterlacing, 402–403

resolution, 26–27

standards, 25–26

storage for, 333

television, 22–23

temporal frequency, 28–31

timecodes, 37–41, 91n, 214, 216, 239–240

VCRs and, 3–4

video-to-film conversion, 15

white point, 430

video proxies, 188–189

video tape recorders. See VTRs

video taps, 61

video-to-film conversion, 15, 375

vignettes, 327–328

virtual cinematography

digital intermediates, 496–497

digital post-production, 492–495

digital pre-production, 477–479

overview, 475–477

shooting digitally, 480–491

virtualized reality, 494–495

virtual private networking (VPN), 99

virtual reels, 257

virtual sets, 489–491

Vision 2 HD film stock (Kodak), 464

visual effects

business model, 471–472

chroma key and, 490–491

digital intermediates and, 494–495

visually lossless compression, 82–84

VITC (vertical interval timecode), 38

voltage, 36

VPN (virtual private networking), 99

W

WAN (wide area network), 172–173

warping, 331, 354–357

watermarks

from chemical stains, 330

copy protection and, 424

digital effects, 386–388

digital images, 85–86

waveform monitors, 429, 431, 451

weaving images, 136

weighted averaging, 342

wet-gate film scanners, 351

white point, 429–430

wide area network (WAN), 172–173

widescreen format

aspect ratio and, 431

considerations, 486–488

outputting, 421

resizing/repositioning, 373

Wi-Fi (wireless) networking, 176–177

Windows Media High Definition Video (WMHDV), 415

wipe effects (wipes)

B-rolls, 225

fine-cut conforming and, 231

layering and, 250

optical effects, 366, 367–368

as transitions, 220, 222–223

wireless (Wi-Fi) networking, 176–177

WMVHD (Windows Media High Definition Video), 415

workstations, 168–169

WORM (write once read many) devices, 166–167, 414

X

XML (extensible markup language), 383

Xpress Pro system (Avid), 291

XYZ color model, 271, 458–459

Y

yellow spot (retina), 99n

YIQ color system

gamma correction, 32

HDR and, 459

media acquisition and, 116

NTSC standard, 31

video compression, 33–34, 87

YUV color system

gamma correction, 32

HDR and, 459

media acquisition and, 116

PAL standard, 31

video compression, 32, 87