* Found in lecture notes only!
Chapter 13: Picture & Dialogue Editing
- editing / cut (p.486)
- Montage Theory (pp. 340, 487-488)
- Russian, Hollywood
- mise-en-scene (French)
- invisible / match cutting (p.489)
- intercut / parallel editing (p.491)
- cut on the action (p.489)
- jump cut (p.489)
- screen direction & 180-degree rule (p.490)
- joining sequences (pp. 490-491):
- straight cut, dissolve, fade
- dialogue editing (p. 491-493)
- editor & assistants jobs (pp. 493-496)
- assembly, rough, fine cut, picture lock (p.496)
Chapter 14: Editing Video (only pp. 502-522)
- NLE (non-linear editor) (p.502)
- DAW (digital audio workstation) (p.627)
- Turnkey Systems (p.503)
- Software Systems (pp. 504-505)
- Nonlinear Editing Equipment (pp. 505-513)
- computer & RAM (p.505)
- monitors (picture & sound)
- video or graphics cards (p. 506)
- capture cards, conversion boxes (p.508)
- ingest device (camera, card reader, etc)
- storage (hard drives, etc.)
- Input & Output (pp. 216-217 & p. 506)
- FireWire™, USB, SDI, HDMI
- On Line vs. Off Line (pp. 513-518)
- Off Line (rough, SD, non-native codec)
- On Line (final, HD, native codec, clr correct)
- SMPTE TimeCode (p. 203)
- EDL (edit decision list) (p.514)
- *FCL (film cut list) for conforming
- film editing equipment (pp. 587, 593):
- editing bench & upright Moviola™
- flatbeds Steenbeck™, KEM™
Chapter 5: Video Image (only pp. 208-229)
- analog / digital (p. 208)
- magnetic media independent of A or D
- Pixel Resolution (pp. 210-212):
- NTSC approx. 350,000 pixels
- HDTV (2k) approx. 2 million pixels
- FILM (4k) approx. 12 million pixels
- Square vs. Non-Square (p. 213)
- Bit Depth or Precision (p. 212)
- Sample Rate: (p. 374)
- Color Sampling (pp. 196-197):
- Y=luminance or brightness
- C=chrominance (color)
- 4:4:4 Film Scanning
- 4:2:2 Digibeta, D1
- 4:1:1 DV
- 4:2:0 HDV, DVD, MPEG2
- Data Rate (bandwidth) (p. 216)
- Mbps (MegaBITS per second)
- Media Files vs. Metadata (p. 220)
- Video recorded to tape is raw data
- Wrappers (file formats) (pp. 220-222)
- Quicktime™ (.mov)
- Windows Media™ (.avi)
- MXF™, AAF, OMF™
- Digital Compression (p. 222)
- Codecs (compressor/decompressor)
- Intraframe (within the frame) (p. 223)
- Interframe (between frames) (p. 224)
- MPEG
- MPEG-1 (MP3)
- MPEG-2 (DVD, digtl cable, satellite)
- MPEG-4 (AVCHD, blu ray, HD-DVD)
- GOP (group of pictures) (pp. 224-227)
- Constant & Variable Bit Rate (p. 227)
- Compression Ratios (p. 223)
- DigiBeta™(2:1), DV(5:1), DVD(40:1)
- Aliasing (pp. 14 & 374)
Chapter 16 Sound Editing & Mixing:
- sound editor / designer (p.625)
- splitting & track building (p. 626)
- sweetening (p. 626)
- pro rerecording mixer (p. 626)
- composer & music supervisor (music) (p. 626)
- scores the music (pp.636-638)
- temp tracks
- spotting (cue sheets)
- music library /sound alikes (p. 637)
- music creation software (p. 638)
- copyrighted music © (pp.744)
- synchronization rights (pp. 744-746)
- all territories
- film festival, video on demand (p.746)
- ASCAP™, BMI™, SESAC™ (p. 745)
- production audio(raw location sound)(p. 627)
- mixing projects (p. 628)
- NLE edit, DAW track work, mix in studio
- Tools (pp. 629-630)
- near field speakers, mixing console
- DAW: ProTools™ or Nuendo™
- SFX (p. 634)
- sound / Foley stage (p. 635)
- ambient sound & room tone (p. 635)
- preparing for the mix - tracks (pp. 640-644)
- 1) dialogue/sync sound 2) narration
- 3) music 4) effects
- all tracks played back in sync with picture
- levels are adjusted & equalization applied
- compressor: reduces loudest sounds (p.649)
- mixed sound rerecorded for final output
- cue sheets (p. 646)
- mix takes 2-10 times project length (p.647)
- Output to Dolby Surround Pro Logic™
- 3.1, 5.1, 6.1, 7.1 (p. 655)
- M and E tracks & dialogue (p. 656)
Chapter 17: The Film Laboratory
- preproduction lab tests (p. 659)
- processing the original (p. 659)
- end / tail test (p. 660)
- circled takes xfered to video workprint (p. 661)
- timed (color balanced) untimed (one-lite)
- *film out vs. video out (postproduction path)
- film = timer or grader (pp. 573-575)
- video = colorist (telecine) (p. 698)
- film printers (p. 666)
- contact (continuous) printer
- optical (step) printer
- skip printing=fast motion (p. 677)
- stretch printing=slow motion
- blowup/ reduction printing (p. 679)
- color timing/additive printing (p.681)
- RGB (50 light points each)
- negative cutter/conformer (p. 668 only)
- digital effects & composites (pp. 543-549):
- chromakey:
- blue/green screen
- hold out mattes (p. 678)
- digital optical effects (p. 676)
- film scanner & recorder (pp.714 & 716)
- Pre-Viz (Pre-Visualization) (p. 313)
- director tool & live action/CGI
- CGI (Computer Generated Imagery) (p. 543)
- *(MoCap) Motion Capture
- digital to film transfers (p. 715)
- making film prints (pp. 681-688):
- intermediates (film) (p.685) :
- (IP) interpositive
- (IN) internegative (dupe neg)
- release prints (to theatre)
- digital intermediates(2K/4K)(pp. 718-719)
- answer & check prints (p.683 & 686)
- sound for film prints (pp. 689-691):
- composite or married print
- optical tracks (photographic)
- digital tracks (pp. 692-693):
- SDDS™/ DTS™ /Dolby Digital™/THX™
- theatrical film projector (p. 693)
- xenon vs. tungsten print
- digital projection (p. 199)
Chapter 18: Film-Digital Transfers
- Telecine (real time) (pp. 696-698)
- Flying Spot Scanner (Cintel™)
- Linear Array CCD Scanner (Spirit™)
- Film Chain (inexpensive)
- Color Corrector (da vinci™) (p. 698)
- Kodak KeyKodes™ & Fuji MR™ (p.702)
- Pulldown (film or video) (p. 566 only)
- 3:2 or 2:3 normal pulldown
- Datacines (not real time) (p. 714)
- LUT (lookup tables) (p. 720)
Chapter 19: Producing & Distributing
- pre, production & post budgets (pp. 728-729)
- above & below-the-line (p. 727)
- distribution costs (printing/ marketing) (p. 727)
- negative costs (all expenses prior to distribution)
- contingency (5%-15%) (p. 727)
- overhead - costs of business
- contributions (in-kind)
- the budget estimate (p. 727)
- unions (p. 730):
- points/deferred salaries (p.730)
- insurances (p. 733)
- fundraising (pp. 733-738)
- copyrights (pp. 738-748)
- releases (form on page 741)
- distribution (pp. 748-760)
- theatre, TV, home video, websites, foreign
* Found in lecture notes only!
