The filmmaker's guide to digital imaging: for cinematopraphers,digital imaging technicians and camera assistants/
The filmmaker's guide to digital imaging: for cinematopraphers,digital imaging technicians and camera assistants/
Brown, Blain
- New York: Focal Press, 2015.
- 295 p.
Dedication
introduction
sensors & cameras
The Digital Signal Path
HDandUHD
Viewing Stream
OLPF
Digital Sensors
Photosites
Demosalcing/DeBayerIng
How Many Pixels Is Enough?
What Color Is Your Sensor?
Sensor Size and Depth-of-Field
Shutters
Noise
ISO In Digital Cameras
IR and Hot Mirror Filters
the digital image
Cookie Dough and The History of HD.
Digital Negative
Chroma Subsampling
Types of Video
Frame Rates
A Little Math Review
measurement
Measuring the Image
The Waveform Monitor
Test Methodology
Hue/Phase
TheVectorscope
Color Bars In Detail
Types of Waveform Monitors
Using the Waveform On Set
Using the Vectorscope On the Set
Video Test Cards
Calibration Test Charts
Measuring Image Resolution
linear, gamma, log
Dynamic Range
Linear Response
Film Gamma and Video Gamma
Rec.709 ^ y ■
The Code 100 Problem
Gamma Control In Traditional HD ..
Another Approach
The Inefficiency of Linear
Log Encoding
Proprietary Log Curves...
18% Gray In Log
Picture Rendering
exposure
Exposure Theory
The Response Curve
Video Exposure
The Tools
A Different World of Exposure
Setting Exposure With the Waveform Monitor
Camera Exposure Indicators
Philosophy and Strategy of Exposure
Black Magic Camera Exposure Advice
HDR
digital color
The Visual Interface
Color Models
TheCIE Diagram
Gamut
Video Color Spaces
AMPASACES Color Space
ColorTransforms
The Matrix
Metamerism
codecs & formats
Video File Formats
Wrappers, Stacks, Containers and Codecs.
Digital Compression Codecs
Types of Compression
Codecs
Compression Technologies
Floating Point
Compression Artifacts ...,
image control & grading
AttheDITCart
Color Correction and Color Grading
Controllers and Control Surfaces
Control Parameters
Color Space
Color Control
Vectors
Exporting and Reusing Gr;
LUTs And Looks
Viewing LUTs
LUTs and Looks: What's the Difference?...!
Poynton's Fourth Law
the DIT cart
Things To Think About In Planning a Cart.
Mobility
Power
Video and Data Cables
Moving Around On The Set
Failover
Rac|< Mount
data management
Data Management
Basic Principles
Procedure — Best Practices
Logs
File Management
File Naming
Download/Ingest Software
Proprietary Data Management Software..
External Recorders
Hard Drives & RAIDS
How Much Storage Do You Need?
Long Term Storage
Moving The Data
workflow
The Digital Camera Crew
The Job oftheDIT
Working With the DP
The Meeting
DIT Workflow
Interfacing With Other Departments
Monitor Outputs
Deliverables
Files For Post and VFX
Camera Specific Workflows
Industry Standard Workflows
Ten Numbers: ASC-CDL
ACES: What It Is, What It Does
The History of ACES
The Transforms
metadata & timecode
What is Timecode?
Other Types of Metadata
XML
Metadata From Rigs
Metadata at the DiT Cart
references
acknowledgements
Acknowledgements
About the Author
9780415854115
777.6 / BRO/F
Dedication
introduction
sensors & cameras
The Digital Signal Path
HDandUHD
Viewing Stream
OLPF
Digital Sensors
Photosites
Demosalcing/DeBayerIng
How Many Pixels Is Enough?
What Color Is Your Sensor?
Sensor Size and Depth-of-Field
Shutters
Noise
ISO In Digital Cameras
IR and Hot Mirror Filters
the digital image
Cookie Dough and The History of HD.
Digital Negative
Chroma Subsampling
Types of Video
Frame Rates
A Little Math Review
measurement
Measuring the Image
The Waveform Monitor
Test Methodology
Hue/Phase
TheVectorscope
Color Bars In Detail
Types of Waveform Monitors
Using the Waveform On Set
Using the Vectorscope On the Set
Video Test Cards
Calibration Test Charts
Measuring Image Resolution
linear, gamma, log
Dynamic Range
Linear Response
Film Gamma and Video Gamma
Rec.709 ^ y ■
The Code 100 Problem
Gamma Control In Traditional HD ..
Another Approach
The Inefficiency of Linear
Log Encoding
Proprietary Log Curves...
18% Gray In Log
Picture Rendering
exposure
Exposure Theory
The Response Curve
Video Exposure
The Tools
A Different World of Exposure
Setting Exposure With the Waveform Monitor
Camera Exposure Indicators
Philosophy and Strategy of Exposure
Black Magic Camera Exposure Advice
HDR
digital color
The Visual Interface
Color Models
TheCIE Diagram
Gamut
Video Color Spaces
AMPASACES Color Space
ColorTransforms
The Matrix
Metamerism
codecs & formats
Video File Formats
Wrappers, Stacks, Containers and Codecs.
Digital Compression Codecs
Types of Compression
Codecs
Compression Technologies
Floating Point
Compression Artifacts ...,
image control & grading
AttheDITCart
Color Correction and Color Grading
Controllers and Control Surfaces
Control Parameters
Color Space
Color Control
Vectors
Exporting and Reusing Gr;
LUTs And Looks
Viewing LUTs
LUTs and Looks: What's the Difference?...!
Poynton's Fourth Law
the DIT cart
Things To Think About In Planning a Cart.
Mobility
Power
Video and Data Cables
Moving Around On The Set
Failover
Rac|< Mount
data management
Data Management
Basic Principles
Procedure — Best Practices
Logs
File Management
File Naming
Download/Ingest Software
Proprietary Data Management Software..
External Recorders
Hard Drives & RAIDS
How Much Storage Do You Need?
Long Term Storage
Moving The Data
workflow
The Digital Camera Crew
The Job oftheDIT
Working With the DP
The Meeting
DIT Workflow
Interfacing With Other Departments
Monitor Outputs
Deliverables
Files For Post and VFX
Camera Specific Workflows
Industry Standard Workflows
Ten Numbers: ASC-CDL
ACES: What It Is, What It Does
The History of ACES
The Transforms
metadata & timecode
What is Timecode?
Other Types of Metadata
XML
Metadata From Rigs
Metadata at the DiT Cart
references
acknowledgements
Acknowledgements
About the Author
9780415854115
777.6 / BRO/F