Post Production

grain_1

Film Grain in Postproduction – Bringing Texture Back

by Kurt Lancaster

A form of postproduction that can be applied to CinemaDNG files is film grain. For some, the idea of shooting in raw reflects in some ways an approach to filmmaking that harkens back to the days of working on film. What is lost in digital filmmaking involves the loss of texture. Film grain is one…

dialogue_1_FEAT

Shot Transitions When Editing Dialogue Tracks: Basic Rules of Thumb

by John Purcell

Moving smoothly from shot to shot is what makes a scene believable. Managing noise is what makes a scene bearable. Keeping processing to a minimum is what makes a scene natural. Balance these competing interests and a scene will work. There are a few overarching principles that are common to all edits from one shot…

Film project setting.

Avid Uncut Pro Tip – Prepping Feature Films with JC Bond

by Steve Hullfish

One of the premiere editorial assistants in the world of high-end film editorial is JC Bond. Bond is also an accomplished film editor in his own right, but he’s assisted on some of the biggest movies of the last decade including Men In Black II, Harry Potter and the Prisoner of Azkaban, Charlie and the…

Fig. 1.12 This image shows the tab of one bin being dragged to another bin so that they occupy the same space. This helps maximize screen real estate, especially when editing on a laptop.

Managing Bins Inside a Project in Avid

by Steve Hullfish

There are a number of reasons to have some discipline about how you organize your bins. One of the main ones is that open bins require RAM, and the more items in an open bin, the more RAM will be sucked up. So, by limiting the items in your bins and limiting the number of…

Mary Cybulski

How to Think About Grammar

by Mary Cybulski

Directors and editors generally like unobtrusive cuts. The less attention the mechanics of film production take, the more attention goes to the story. The basic rules of film grammar are designed to further this goal. Following the basic rules will provide smooth transitions and a neutral flavor to the craftsmanship of your story. This general…

FIG 4.1 The Translate X channel of a polygon sphere indicates an expression with purple coloring.

Controlling nParticles with Expressions

by Lee Lanier

An Introduction to Expressions Expressions are special text instructions that you can apply to node channels. Nodes are discrete units of a hierarchy that store information (such as a transformation matrix, geometry attributes, and so on), while channels are keyable attributes of a node, such as Translate X, Visibility, and so on. The instructions can…

Figure 4.2

Inputs & Outputs of the Geometry Workflow

by Rick Baumgartner

The primary inputs to the geometry workflow are: Imagery Metadata Geometry Review Reports The primary outputs from the geometry workflow are: Geometry Workflow Masters Geometry Decision Lists Dailies/Footage Dailies consist of imagery and metadata from production. This is relevant if you are in postproduction while production (principal photography) is still happening or if you are…

Jack Foley displaying his notable whimsy, with granddaughter Catherine Clark, partially seen, sitting at his side. Photo courtesy of Catherine Clark.

Holey Foley: The Man Behind The Craft

by Vanessa Theme Ament

THE UNITED STATES It is important to state, at the onset, that many sound professionals assumed Jack Foley—the man for whom the craft is named—was a sound editor who began to perform footstep cues for his own reels, and thus began a career of doing those of other editors who had neither the talent nor…

Figure 1.8

Core Conditions for 3D

by Rick Baumgartner

3D postproduction maintains time and space relationships between two 2D representations from the instant of image capture to the final display of the imagery to the viewer or audience. 2D motion imagery requires certain core conditions to tell a convincing visual story. These conditions include spatial factors such as framing or post moves as well…

Chace Audio prop room. Many props organized for easy location of specific props. Photo courtesy of Steve Lee, Hollywood Lost and Found.

Should a Foley Artist Divulge Their Methods?

by Vanessa Theme Ament

One of the first questions that a Foley artist will be asked, whether it is a formal interview or a casual encounter is, “What did you use for (name of prop or event) in (name of movie)?” Most Foley artists, unless they have specific and routine props for most cues will respond with, “I don’t…

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