By Jack James
This e-book offers an array of concise suggestions to the big variety of difficulties which are confronted through postproduction artists within the submit technique. With an application-agnostic procedure, it offers confirmed, step by step tips on how to fixing the main often encountered postproduction difficulties. additionally incorporated is entry to a unfastened, password-protected web site that includes application-specific resolutions to the issues awarded, with fixes for operating in Apple's ultimate reduce Studio suite, Avid's Media Composer, Adobe preferable seasoned, in addition to different purposes. classes are better via crowd pleasing four colour illustrations all through. recommendations are supplied for universal audio, video, electronic, editorial, colour, timing and compositing difficulties, similar to, yet no longer restricted to: * computerized discussion substitute, adjusting sync, and correcting pitch * turning SD into HD (and vice-versa) and recovery of outdated movie for video * elimination replica frames, repairing corrupt frames, and anti-aliasing * holding continuity, removal tender cuts, and troubleshooting timecodes * including vignettes, elimination colour casts, and legalizing colour * dashing photographs up or slowing photographs down, and smoothing timelapse * reframing pictures, sky alternative, and item addition or elimination The ebook is gifted in a "cookbook" layout, permitting you to reference your specified challenge within the TOC or index, visit that part, and instantly enforce the answer featured. * Concise recommendations to a huge variety of difficulties regularly encountered in postproduction, with suggestions for issues of video, audio, compositing, colour, enhancing, timing, and extra * 4-color presentation engages and gives vivid visible counsel to suggestions * Application-agnostic strategy offers recommendations to difficulties whatever the software program getting used
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Extra info for Fix It in Post; Solutions for Postproduction Problems, 2009 Edition
5. 6. 52 the most common source of lens ﬂare is the sun, footage with lens ﬂare tends to contain a lot of sky. Create a “clean plate” to use throughout the shot. Identify a frame that contains most of the imagery in the shot (you may need to pick several frames at regular intervals to fulﬁll this function) and clone from them to create a single frame with no discernable lens ﬂare. a. Where possible, mask parts of the lens ﬂare and color-correct them so that they match the surrounding image. b. For the rest of the image, clone areas from adjacent frames or from elsewhere in the current frame until the lens ﬂare has been completely removed from the image.
Because it’s impossible to manufacture a lens to have perfect curvature, the images that are recorded can be squashed or stretched in some way. The two most common types of distortion are barrel and pincushion. With barrel distortion, the image appears to bulge outward, whereas pincushion is the opposite, almost sucking the picture into its center. Barrel and pincushion distortion can be detected by examining vertical and horizontal lines in the image. If lines that should be straight (such as the edge of a building) curve toward the picture’s center, that is usually evidence of pincushion distortion.
47 Fix It in Post How to Repair Out-of-Focus Shots The following technique works well in most situations, and at a minimum will give you much better results than just applying a stock sharpening ﬁlter. 1. 2. 3. 4. 5. 6. 7. 48 Load in the footage, and make sure it is set to be viewed at 100%. Separate the luminance channel from the color channel. 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).
Fix It in Post; Solutions for Postproduction Problems, 2009 Edition by Jack James