Apr
All of us who work professionally in the audiovisual industry deal daily with terms such as 4K, Raw, logarithmic, DPX or work with formats such as HDCAM, SR, P2, Alexa…but what EXACTLY do all these terms mean, is working in TIFF the same as working in DPX, what is the difference between DVCPRO HD and AVCINTRA if both are P2, what is the difference between DVCPRO HD and AVCINTRA if both are P2? Knowing and controlling all these terms and concepts DOES have a direct influence on the post-production processes allowing us to save processes, save time and maintain image quality at every step.
This theoretical-practical course will lay the foundations that will allow the student to understand how the present and future HDTV and digital cinema codecs work. We will explore the most common workflows for television, digital intermediate and digital cinema and we will practice ingesting the different professional codecs in the most used editing workstations: Avid Media Composer 6 and Final Cut Pro 7, showing the most common settings that we must take into account when it comes to digital post-production with any software.
DURATION: 12 hours
TEACHER: Luis Ochoa.
He works as a colorist in Spain and in London for the London Film School. His credits include feature films (“Cecilia y Juan”, “Por la gracia de Luis”) and television (“Tierra de Lobos”). He has also worked as a post-production manager on numerous projects for Avid Technology and is an ACI (Avid Certified Instructor).
SOFTWARE: Avid Media Composer 6. Final Cut Pro 7. Apple Color, Cinema Tools… on Apple professional workstations (one per student).
AIMED AT: Editors and assistant editors, post-producers, colorists, post-production directors, filmmakers…
PREVIOUS KNOWLEDGE: Basic knowledge of Avid and/or Final Cut Pro 7 and familiarity with the technical terms of the video signal and its digitization.
PRICE: 280€ with possibility of discounts
WHEN: June 12 to 14 (Tuesday to Thursday) from 10 am to 2 pm The registration period ends on Friday, June 8, except in exceptional cases.
WHERE: Mass Digital. See in Google Maps. If you need any kind of information you can contact 709 MR by email or phone (668840783).
COURSE CODE: POHD26-140612
GENERAL OBJECTIVES:
- Be able to establish a post-production flow for each project.
- Know the differences and advantages of all current video formats.
- Learn a basis for understanding the new flows and formats that will arrive
CONTENTS
- HD resolutions: 1920, 1440 …
- HD aspect ratio. Pixel Ratio (PAR)
- Interlaced, progressive, PSF. Differences between capture and recording.
- RGB and YUV digital color models
- HD sampling and quantization: 422, 444 RGB, 444 YUV. 8, 10, 12b
- Compression types: DCT, MPEG2, MPEG4, H264 (ALL I, IBP)
- Transfer rates and compression ratios.
- Differences between HD connectors: HD SDI, dual link …
- Media and metadata processing.
- Media types: magnetic, MXF (OP Atom, OP 1A), QT, framesec, RAW
- Media: Tape, solid-state memory, hard disk, optical disk, data tapes.
- Differences between camera and intermediary codecs
- Rolling hard disks
- Table of current HD formats. Characteristics and comparison.
- Digital Cinema Resolutions: 2K, 4K, 5K
- Linear and logarithmic camera gamma curves
- Correction and preview LUTs
- RAW media explanation (basic camera circuits: dichroic block and Bayer matrix, gamma, white clip, knee, white balance, etc.)
- Differences between the most common post-production codecs (DNXHD, Prores, 1:1): resolutions, sampling, PAR, bit rate and bit depth…
- Post-production connection and transcoding
- Photochemical – digital conversion: Digital Intermediate (DI)
- Film digitization: Telecine and negative scanner.
- Types of telecine.
- International mastering. Mixing of different frame rates.
- DPX and Cineon files. Features.
- Aspect ratio conversions in DI
- Digital-to-digital forming (offline-online)
- Metadata exchange in conforming: AAF, EDL, XML
- Forming work process from Avid and FCP 7
- Color depth for color grading. Bit processing in rendering
- Differences between 709 and RGB color models.
- Ingest of all current HD formats on Avid MC and FCP 7 (HDCAM, XDCAM HD, XDCAM EX, P2 DVCPRO HD and AVCINTRA, AVCHD, NXCAM, HDV, XFCODEC, Canon HDSLR, DPX, HDCAM SR, Arri Alexa)
- Ingestion of the different frame rates of Panasonic P2 and Canon HDSLR
- Red RAW development in Avid MC and Apple Color
- Other Raw codecs: Arri Raw, Cineform, CinemaDNG
- Use of test charts in post-production
- Digital – photochemical conversion: Kinescoping, laser or led filming.
- Requirements in the delivery of material to the laboratory.
- Digital projection. Basic features of DCP
- HDTV. Broadcast formats in the world and in Spain (ITU-709, CIF and EBU recommendations).
- Mastering and archiving of HD material
You can download the documentation to take the course here
For more information and to reserve a place, please send an e-mail to info@709mediaroom.com.
