By Jack James
This booklet offers an array of concise recommendations to the big variety of difficulties which are confronted through postproduction artists within the put up procedure. With an application-agnostic strategy, it supplies confirmed, step by step how you can fixing the main usually encountered postproduction difficulties. additionally integrated is entry to a unfastened, password-protected web site that includes application-specific resolutions to the issues provided, with fixes for operating in Apple's ultimate minimize Studio suite, Avid's Media Composer, Adobe most popular seasoned, in addition to different functions. classes are more advantageous via attention-grabbing four colour illustrations all through. suggestions are supplied for universal audio, video, electronic, editorial, colour, timing and compositing difficulties, similar to, yet no longer restricted to: * automatic discussion substitute, adjusting sync, and correcting pitch * turning SD into HD (and vice-versa) and recovery of outdated movie for video * removal replica frames, repairing corrupt frames, and anti-aliasing * holding continuity, elimination smooth cuts, and troubleshooting timecodes * including vignettes, elimination colour casts, and legalizing colour * rushing photographs up or slowing pictures down, and smoothing timelapse * reframing photographs, sky alternative, and item addition or removing The booklet is gifted in a "cookbook" layout, permitting you to reference your detailed challenge within the TOC or index, visit that part, and instantly enforce the answer featured. * Concise strategies to a huge variety of difficulties in most cases encountered in postproduction, with strategies for issues of video, audio, compositing, colour, modifying, timing, and extra * 4-color presentation engages and offers bright visible assistance to ideas * Application-agnostic technique presents recommendations to difficulties whatever the software program getting used
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Additional resources for Fix It in Post; Solutions for Postproduction Problems, 2009 Edition
5. 6. 7. example, if something moves in front of the point you’ve tracked at any time during the shot. The resulting data give the motion of the camera during the shot. Save the tracking data. Load the stable shot into the tracking system. Apply the saved tracking data to the shot (you may need to split up the shot or loop the data if the reference shot was shorter than the stable one). Zoom and crop the image (if necessary) so that the edge of the frame doesn’t encroach on the footage, and render the sequence out.
You now need to separate the shake from the desired motion. There are a couple of ways to do this. a. If your tracking software has the capability, you can duplicate the tracking data you’ve just collected, smooth (or blur) it, and then subtract that from the original tracking data. b. The other option is to completely remove all camera motion and then manually recreate the original camera move (using the pan-and-scan technique in chapter 9) afterward. If you opt for this approach, make sure that you don’t crop the footage at any point (you may need to increase the rendering region of your workspace to prevent this from happening).
This will form the basic mask (separating into L, A, B channels is the preferred method for doing this, but it is not available in all software packages, in which case you may have to make do with splitting it into H, S, B and working with the B channel). Duplicate the luminance channel a couple of times so that you have three copies. Key each of the luminance channel copies so that one contains just shadow information, one has just mid-tones, and the last just highlights. These will form your three main masks to apply to the original footage.
Fix It in Post; Solutions for Postproduction Problems, 2009 Edition by Jack James