Understanding Digital Cinema: A Professional Handbook by Charles S. Swartz

By Charles S. Swartz

Realizing electronic Cinema: a certified guide is a accomplished source on all elements of completing, allotting and showing movie digitally. For technical pros in addition to non-technical decision-makers, the publication is a close exploration of each portion of the method, from getting to know to theater administration.

An assessment of electronic cinema procedure requirements
Post creation paintings flow
Color in electronic cinema
The electronic cinema getting to know process
Fundamentals of compression
Security
Basics of audio
Digital distribution
Digital projection technology
Theater systems
The overseas point of view: perspectives from Europe, Asia and Latin America
A sensible overview of the way forward for electronic cinema

Contributions by:
Richard Crudo, President, American Society of Cinematographers
Leon Silverman, govt vp, Laser Pacific Media Corporation
Charles Poynton, colour Scientist
Chris Carey, Senior vp, Studio New know-how, The Walt Disney Studios
Bob Lambert, company Senior vp New expertise & New Media,
The Walt Disney Company
Bill Kinder, Pixar Animation Studios
Glenn Kennel, Texas Instruments
Peter Symes, supervisor, complex expertise, Thomson Broadcast & Media Solutions
Robert Schumann, President, Cinea, Inc., A Subsidiary of Dolby Labs
David grey, vp, construction prone, Dolby Laboratories, Inc.
Darcy Antonellis, government vp, Distribution and expertise Operations
Warner Bros. Technical Operations Inc. and Senior vp, around the globe Anti-Piracy Operations Warner Bros. leisure Inc.
Matt Cowan, vital and Founder, leisure expertise Consultants
Loren Nielsen, critical and Founder, leisure expertise Consultants
Michael Karagosian, companion, Karagosian MacCalla companions (KMP)
Peter Wilson, vice chairman, show applied sciences, Snell and Wilcox Ltd.
Patrick Von Sychowski, Senior Analyst, display Digest

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Sample text

But eventually the power and flexibility of these new nonlinear digital editing systems became too attractive to ignore. The Lightworks edit system in particular featured the same film shuttle control as the KEM, which many film editors found friendly. The team from Avid took great pains to listen to editors and build features and capabilities based on their input. By the mid-1990s the majority of features was edited digitally, and by the end of the millennium the transition to digital editing was virtually complete.

A team of assistant editors works alongside today’s digital editing system. By using the edit system’s edit decision list (EDL) or cut list, the assistant will conform the film workpicture by physically cutting and splicing it to prepare the version for screening. When necessary, the edit room may need to order reprints of scenes that have been cut in one version, but are now extended in another. This is necessary because when making a physical splice in film, one frame is usually lost on either side of the splice.

Cinematographers want to know their printing lights in order to verify that they are exposing the film correctly relative to their own expectations. This is an important reference and calibration tool for them to understand how the exposure of the film correlates to their understanding of their goals when shooting it. Printing Once timed, the film is sent to the printing department where it is printed at the lights that the timer has determined. From the printer, the film is usually viewed on a high-speed projector by a representative of the lab.

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