
- •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

264 The Digital Filmmaking Handbook, 4E
Effects and Titles
Most editing applications come packed with all types of fancy transitions and wipes. However, for a dramatic feature, you probably won’t want to use anything more complex than a crossdissolve. (Just think of those tacky wipes and iris transitions in Star Wars, and you’ll see what we mean.) However, if you’re working on a project that’s more stylized, or on a commercial or corporate presentation, fancy transitions might be necessary.
Because transitions are notorious for quickly falling in and out of fashion, don’t let the presence of the “wipe du jour” play too much of a role in your purchase decision—it might look tired by the time you’re up and running. Instead, look for software that has a good practical effects package: color correction, internal titling, motion effects, and compositing. And if you’re really serious about special effects, look for software that integrates easily with dedicated effects applications, such as Adobe After Effects.
Types of Effects
Nowadays, even the cheapest editing package includes a mind-boggling number of effects. In fact, sometimes the cheaper the software, the more effects you get! Nevertheless, all effects fall into one of the categories discussed next.
Transitions
Transition effects create a bridge from one shot to another. The most often-used transition is the cross-dissolve. Others include various wipes, pushes, page turns, and white flashes, to name only a few. If you’re planning on using lots of these, look for software with plug-in support and keyframing (see Figure 12.10).
Figure 12.10
The effects editor showing luma keying and keyframes in Final Cut Pro.

Chapter 12 n Editing Software |
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Image Enhancement Effects
There’s a limit to how much you can improve poorly shot video, but your editing software should offer some control over the brightness, contrast, saturation, and hue of your footage (see Figure 12.11). A lot of editing packages now offer elaborate color correction tools. These are especially useful if you are planning to finish your project using your editing software.
Figure 12.11
Color correction in Final Cut Pro.
Motion Effects
One of the most basic video effects is the ability to freeze, slow down, or speed up a shot. If you’re going to do lots of motion effects, look for software that lets you specify a variable frame rate from 0% (freeze frame) to 3000% (the maximum that most programs will allow) so that you can do speed ramps.
Compositing
Compositing tools are used for everything from complex titling and video collage to sophisticated special effects, including virtual sets and locations. The compositing tools offered by most editing applications (alpha channel compositing, luma keying, chroma keying, and matte keying) are good enough for creating simple composites, but they lack the precision and control needed for serious special effects.
3D Effects
Another hot property these days is the ability to move a video layer in true 3D space. Used primarily for fancy transitions and simple effects, the feature filmmaker will find little use for these effects. If you want to create true 3D objects and environments, you’ll be better off using a specialized 3D animation application.