ŠĻą”±į>ž’ HJž’’’G’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’’ģ„Į9 šæbjbjżĻżĻ*8Ÿ„Ÿ„’’’’’’lØØØØØØØ¼vvvv$šL¼:/źņņņņņņņņ¹.».».».».».».$$0 D2Dß.Øņņņņņß.D,ØØņņō.D,D,D,ņĄ ØņØņ¹.D,ņ¹.D,XD,œ-:Y.@ØØ­.ņę  +Īšs1ļŗv²"p ™. ­. /0:/£. ˆ2","ˆ2­.D,¼¼ØØØØŁThe EDCF Guide to Digital Cinema Production Available from Focal Press September 2004 Contents Prefaces Åse Kleveland, Chairman EDCF Johannes Lassila, Chairman EDCF Content Module 1. INTRODUCTION WHY DIGITAL? by Lasse Svanberg • The History Film is Dead! ”The Incredible Shrinking Game” Silver or Rust? Three milestones • The Present What’s the difference between E- and D-cinema? Resolution? Who Runs the Digital Show? • The Future • About this book 2. THE TOOLBOX 2.1 HD Systems & Cameras by Roland Sterner • Systems Requirements The ”Film Look” Image sharpness, resolution and colour quality Depth of field The viewfinder Variable frame rate Exposure latitude Lenses Camera noise Accessories Post production • Recent Camera models Sony Panasonic Viper DALSA ARRI JVC • Conclusions 2.2 HD Camera Testing by Hans Hansson • Adjusting back-focus with Siemens star • Adjusting back-focus with collimator • P+S Pro Digital Images Converter • Lens sharpness tests • Exposure 2.3 The 37 Most Frequently Asked Questions on HD Production by Michael Brennan • What is HD? • Do you need less light when you shoot HD? • Do you need less crew with HD? • Can HD tapes be damaged by x-rays or metal detectors? • Are HD CCDs damaged by airline travel? • How good is the audio recording on a HD camcorder? • Do I use a clapper? • What is negative fill? • Is there a difference in lighting for HD than film or standard def? • Do I need a big HD monitor to make good HD pictures? • Do HD cameras have a problem with red? • Why shoot HD if there is no HD transmission? • Can HD record in slow motion? • Video lenses are inferior to film lenses? • Panavision lenses are best? • Should I record sound on camera? • What about the adapters that convert 35 mm lenses to HD? • HD strobes more than film • Film guys can’t handle HD • Can video guys shoot HD? • Should I shoot straight and achieve the look I want in post? • Can HD cameras handle extremes of temperatures and humidity? • HD post is complicated and time consuming • Audiences think that HD is awful • What is a Viper? • What is 4:4:4? • What is 720p? • HD is lower resolution than 2K • Compression is nasty since you lose colours and resolution • HD viewfinders are awful • HD cameras make a lot of noice • Digital effects are expensive • HD cameras are large and heavy • Is there a HD minicam? • What are the benefits of shooting HD? • What are the drawbacks of shooting HD? • What is the most important thing to consider when shooting HD? 3. HD Film Production in Scandinavia – a few case studies 3.1 Ingmar Bergman Meets Hi-Tech by Lasse Svanberg • Part 1. Pre-production and production Background Choice of production technique Shooting problems Recording techniques • Part 2. Post-production The 35 mm film version • Conclusions 3.2 The Swedish Digital Experience by Lasse Svanberg • Pioneering work • The Third Wave • The Infrastructure • In conclusion 3.3 The Danish Digital Experience by Jens Ulff-Mųller • Technical issues: HD image versus 35 mm • Recording format • Danish Digital Movies ”Dogville” ”Wilbur Wants to Commit Suicide” ”Zafir” 3.4 A Finnish HD Experience – ”Hymypoikka” (Young Gods) by Jarkko T. Laine • Pre production • Production Cameras Some other practical problems Focus problems Screening of rushes Exposure • Post Production • Release printing • Conclusions 4. Audio Recording for HD by Simon Bishop • Unwanted on-set noises • What to record on and where • Post production work flows for audio (and pictures) from shooting to delivery format 5. Introduction to the Digital Intermediate Process by Steve Shaw • Digital Intermediate vs. Digital Film • The DI process • Digital Film – width & depth? • A Note on Log vs Lin • Linear Data in a Log World? • Resolution • Greater than 2K? 6. Digital Cinema Economy – The Benefits of Change by Sean Foley • Economic implications • HD D-Cinema – an independent filmmaker’s medium • Digital Exhibition and Festivals • Case study 7. Some recent European initiatives in Digital Film Production, Distribution & Exhibition 7.1 European Digital Cinema Forum (EDCF) by John Graham • Aims • Structure • Constitution and the Future 7.2 National Film Theatre Digital Test Bed by Richard Boyd and Sarah Trigg • Why a Digital Test Bed? • Objectives • Snell & Wilcox • Sound • QuVis • Texas Instruments • The Projectors 7.3 European DocuZone (EDZ) by Kees Ryninks • Working together across borders • Euro Docs • Central co-ordination of European programming • Central Play-Out Centre • One standardized server based system 7.4 Folkets Hus Digital Houses Project by Lasse Svanberg 7.5 UK Film Council Digital Projects by Peter A. Parks • Digital Technology • The UK Film Council’s New Cinema Fund • BFI screenonline • The new funded programmes • The UK Film Skills Strategy: building a workforce for tomorrow • Distribution and Exhibition Fund • The UK Film Council’s Digital Screen Network • Conclusions 8. The Digital Future of Cinema – Faraway, So Close by Patrick von Sychowski • Technology • Standards • Business Models • Service Providers • International Ventures • Content • Conclusions 9. Standards by Peter Wilson • Why do we need standards? • Standardization in our industry • SMPTE and the formation of Digital Cinema Initiative (DCI) • European Digital Cinema Forum (EDCF) • Technical Levels of Service 10. Archiving Digital Media by Paul Read • What is an archive? What is digital preservation? • Preservation vs access • What’s the rush? • Why digital? • Cinema Images? • Film Images? • Compression • So, at maximum, just how much data will we need to store? • Migration • Access • What should this preservation format be? • What suitable format do we have now? • Where does this all leave us? • In conclusion 11. About the Authors 12. Further reading 13. 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