
- •CONTENTS
- •INTRODUCTION
- •1 Getting Started
- •Better, Cheaper, Easier
- •Who This Book Is For
- •What Kind of Digital Film Should You Make?
- •2 Writing and Scheduling
- •Screenwriting
- •Finding a Story
- •Structure
- •Writing Visually
- •Formatting Your Script
- •Writing for Television
- •Writing for “Unscripted”
- •Writing for Corporate Projects
- •Scheduling
- •Breaking Down a Script
- •Choosing a Shooting Order
- •How Much Can You Shoot in a Day?
- •Production Boards
- •Scheduling for Unscripted Projects
- •3 Digital Video Primer
- •What Is HD?
- •Components of Digital Video
- •Tracks
- •Frames
- •Scan Lines
- •Pixels
- •Audio Tracks
- •Audio Sampling
- •Working with Analog or SD Video
- •Digital Image Quality
- •Color Sampling
- •Bit Depth
- •Compression Ratios
- •Data Rate
- •Understanding Digital Media Files
- •Digital Video Container Files
- •Codecs
- •Audio Container Files and Codecs
- •Transcoding
- •Acquisition Formats
- •Unscientific Answers to Highly Technical Questions
- •4 Choosing a Camera
- •Evaluating a Camera
- •Image Quality
- •Sensors
- •Compression
- •Sharpening
- •White Balance
- •Image Tweaking
- •Lenses
- •Lens Quality
- •Lens Features
- •Interchangeable Lenses
- •Never Mind the Reasons, How Does It Look?
- •Camera Features
- •Camera Body Types
- •Manual Controls
- •Focus
- •Shutter Speed
- •Aperture Control
- •Image Stabilization
- •Viewfinder
- •Interface
- •Audio
- •Media Type
- •Wireless
- •Batteries and AC Adaptors
- •DSLRs
- •Use Your Director of Photography
- •Accessorizing
- •Tripods
- •Field Monitors
- •Remote Controls
- •Microphones
- •Filters
- •All That Other Stuff
- •What You Should Choose
- •5 Planning Your Shoot
- •Storyboarding
- •Shots and Coverage
- •Camera Angles
- •Computer-Generated Storyboards
- •Less Is More
- •Camera Diagrams and Shot Lists
- •Location Scouting
- •Production Design
- •Art Directing Basics
- •Building a Set
- •Set Dressing and Props
- •DIY Art Direction
- •Visual Planning for Documentaries
- •Effects Planning
- •Creating Rough Effects Shots
- •6 Lighting
- •Film-Style Lighting
- •The Art of Lighting
- •Three-Point Lighting
- •Types of Light
- •Color Temperature
- •Types of Lights
- •Wattage
- •Controlling the Quality of Light
- •Lighting Gels
- •Diffusion
- •Lighting Your Actors
- •Interior Lighting
- •Power Supply
- •Mixing Daylight and Interior Light
- •Using Household Lights
- •Exterior Lighting
- •Enhancing Existing Daylight
- •Video Lighting
- •Low-Light Shooting
- •Special Lighting Situations
- •Lighting for Video-to-Film Transfers
- •Lighting for Blue and Green Screen
- •7 Using the Camera
- •Setting Focus
- •Using the Zoom Lens
- •Controlling the Zoom
- •Exposure
- •Aperture
- •Shutter Speed
- •Gain
- •Which One to Adjust?
- •Exposure and Depth of Field
- •White Balancing
- •Composition
- •Headroom
- •Lead Your Subject
- •Following Versus Anticipating
- •Don’t Be Afraid to Get Too Close
- •Listen
- •Eyelines
- •Clearing Frame
- •Beware of the Stage Line
- •TV Framing
- •Breaking the Rules
- •Camera Movement
- •Panning and Tilting
- •Zooms and Dolly Shots
- •Tracking Shots
- •Handholding
- •Deciding When to Move
- •Shooting Checklist
- •8 Production Sound
- •What You Want to Record
- •Microphones
- •What a Mic Hears
- •How a Mic Hears
- •Types of Mics
- •Mixing
- •Connecting It All Up
- •Wireless Mics
- •Setting Up
- •Placing Your Mics
- •Getting the Right Sound for the Picture
- •Testing Sound
- •Reference Tone
- •Managing Your Set
- •Recording Your Sound
- •Room Tone
- •Run-and-Gun Audio
- •Gear Checklist
- •9 Shooting and Directing
- •The Shooting Script
- •Updating the Shooting Script
- •Directing
- •Rehearsals
- •Managing the Set
- •Putting Plans into Action
- •Double-Check Your Camera Settings
- •The Protocol of Shooting
- •Respect for Acting
- •Organization on the Set
- •Script Supervising for Scripted Projects
- •Documentary Field Notes
- •What’s Different with a DSLR?
- •DSLR Camera Settings for HD Video
- •Working with Interchangeable Lenses
- •What Lenses Do I Need?
- •How to Get a Shallow Depth of Field
- •Measuring and Pulling Focus
- •Measuring Focus
- •Pulling Focus
- •Advanced Camera Rigging and Supports
- •Viewing Video on the Set
- •Double-System Audio Recording
- •How to Record Double-System Audio
- •Multi-Cam Shooting
- •Multi-Cam Basics
- •Challenges of Multi-Cam Shoots
- •Going Tapeless
- •On-set Media Workstations
- •Media Cards and Workflow
- •Organizing Media on the Set
- •Audio Media Workflow
- •Shooting Blue-Screen Effects
- •11 Editing Gear
- •Setting Up a Workstation
- •Storage
- •Monitors
- •Videotape Interface
- •Custom Keyboards and Controllers
- •Backing Up
- •Networked Systems
- •Storage Area Networks (SANs) and Network-Attached Storage (NAS)
- •Cloud Storage
- •Render Farms
- •Audio Equipment
- •Digital Video Cables and Connectors
- •FireWire
- •HDMI
- •Fibre Channel
- •Thunderbolt
- •Audio Interfaces
- •Know What You Need
- •12 Editing Software
- •The Interface
- •Editing Tools
- •Drag-and-Drop Editing
- •Three-Point Editing
- •JKL Editing
- •Insert and Overwrite Editing
- •Trimming
- •Ripple and Roll, Slip and Slide
- •Multi-Camera Editing
- •Advanced Features
- •Organizational Tools
- •Importing Media
- •Effects and Titles
- •Types of Effects
- •Titles
- •Audio Tools
- •Equalization
- •Audio Effects and Filters
- •Audio Plug-In Formats
- •Mixing
- •OMF Export
- •Finishing Tools
- •Our Software Recommendations
- •Know What You Need
- •13 Preparing to Edit
- •Organizing Your Media
- •Create a Naming System
- •Setting Up Your Project
- •Importing and Transcoding
- •Capturing Tape-based Media
- •Logging
- •Capturing
- •Importing Audio
- •Importing Still Images
- •Moving Media
- •Sorting Media After Ingest
- •How to Sort by Content
- •Synchronizing Double-System Sound and Picture
- •Preparing Multi-Camera Media
- •Troubleshooting
- •14 Editing
- •Editing Basics
- •Applied Three-Act Structure
- •Building a Rough Cut
- •Watch Everything
- •Radio Cuts
- •Master Shot—Style Coverage
- •Editing Techniques
- •Cutaways and Reaction Shots
- •Matching Action
- •Matching Screen Position
- •Overlapping Edits
- •Matching Emotion and Tone
- •Pauses and Pull-Ups
- •Hard Sound Effects and Music
- •Transitions Between Scenes
- •Hard Cuts
- •Dissolves, Fades, and Wipes
- •Establishing Shots
- •Clearing Frame and Natural “Wipes”
- •Solving Technical Problems
- •Missing Elements
- •Temporary Elements
- •Multi-Cam Editing
- •Fine Cutting
- •Editing for Style
- •Duration
- •The Big Picture
- •15 Sound Editing
- •Sounding Off
- •Setting Up
- •Temp Mixes
- •Audio Levels Metering
- •Clipping and Distortion
- •Using Your Editing App for Sound
- •Dedicated Sound Editing Apps
- •Moving Your Audio
- •Editing Sound
- •Unintelligible Dialogue
- •Changes in Tone
- •Is There Extraneous Noise in the Shot?
- •Are There Bad Video Edits That Can Be Reinforced with Audio?
- •Is There Bad Audio?
- •Are There Vocal Problems You Need to Correct?
- •Dialogue Editing
- •Non-Dialogue Voice Recordings
- •EQ Is Your Friend
- •Sound Effects
- •Sound Effect Sources
- •Music
- •Editing Music
- •License to Play
- •Finding a Composer
- •Do It Yourself
- •16 Color Correction
- •Color Correction
- •Advanced Color Controls
- •Seeing Color
- •A Less Scientific Approach
- •Too Much of a Good Thing
- •Brightening Dark Video
- •Compensating for Overexposure
- •Correcting Bad White Balance
- •Using Tracks and Layers to Adjust Color
- •Black-and-White Effects
- •Correcting Color for Film
- •Making Your Video Look Like Film
- •One More Thing
- •17 Titles and Effects
- •Titles
- •Choosing Your Typeface and Size
- •Ordering Your Titles
- •Coloring Your Titles
- •Placing Your Titles
- •Safe Titles
- •Motion Effects
- •Keyframes and Interpolating
- •Integrating Still Images and Video
- •Special Effects Workflow
- •Compositing 101
- •Keys
- •Keying Tips
- •Mattes
- •Mixing SD and HD Footage
- •Using Effects to Fix Problems
- •Eliminating Camera Shake
- •Getting Rid of Things
- •Moving On
- •18 Finishing
- •What Do You Need?
- •Start Early
- •What Is Mastering?
- •What to Do Now
- •Preparing for Film Festivals
- •DIY File-Based Masters
- •Preparing Your Sequence
- •Color Grading
- •Create a Mix
- •Make a Textless Master
- •Export Your Masters
- •Watch Your Export
- •Web Video and Video-on-Demand
- •Streaming or Download?
- •Compressing for the Web
- •Choosing a Data Rate
- •Choosing a Keyframe Interval
- •DVD and Blu-Ray Discs
- •DVD and Blu-Ray Compression
- •DVD and Blu-Ray Disc Authoring
- •High-End Finishing
- •Reel Changes
- •Preparing for a Professional Audio Mix
- •Preparing for Professional Color Grading
- •Putting Audio and Video Back Together
- •Digital Videotape Masters
- •35mm Film Prints
- •The Film Printing Process
- •Printing from a Negative
- •Direct-to-Print
- •Optical Soundtracks
- •Digital Cinema Masters
- •Archiving Your Project
- •GLOSSARY
- •INDEX

246 The Digital Filmmaking Handbook, 4E
Figure 11.6
A high-end HDCAM VTR.
Working with Analog or DV Video
If your project involves analog video, check out the Analog Video Primer and the DV Primer on the Web site at www.thedigitalfilmmakinghandbook.com/chapter3. It’s a compilation of all the information on working with analog video from past editions of the book.
Custom Keyboards and Controllers
Although you can drive an editing program with your mouse, having keyboard control allows you to make edits without stopping to move the mouse around. In addition to being much faster, driving your editor from the keyboard allows you to work more fluidly and to develop a rhythm. Editing is a very tactile process, so good keyboard control is essential.
However, complex editing programs can have dozens of keyboard commands and shortcuts. Although a good program will have keyboard controls that are logically arranged, learning these layouts can take some time. A custom keyboard like the one shown in Figure 11.7 can make learning your system much easier. These keyboards feature color-coded keys with custom icons that allow you to easily see exactly what each key does.
In addition to custom keyboards, you might also find a higher-quality mouse is a worthwhile investment. There are also a number of specialized edit controllers on the market.
Backing Up
Everyone who has used a computer for any amount of time knows the importance of backing up. And though losing that critical text document can be a drag, losing hours and hours of transcoded video in addition to your editing project file and weeks’ worth of complex 3D renderings can completely destroy a project. As you might surmise, good backup is essential. Consequently, you should consider your backup strategy when constructing your system.
The best backup system to implement and use is to simply buy additional external hard drives and copy your files over at regular intervals. Using hard drives as backup is also the speediest backup strategy. Hard drives are also fairly cheap to buy these days, making them a cost-effective backup solution.