By Blain Brown

It’s a complete new international for cinematographers, digital camera assistants, and postproduction artists. New gear, new tools, and new applied sciences need to be realized and mastered. New roles corresponding to that of the DIT (Digital Imaging Technician), electronic Loader, and knowledge supervisor are essential to today’s movie construction procedure. Take your mastery of those new instruments, thoughts, and roles to the subsequent point with this state of the art roadmap from esteemed writer and filmmaker Blain Brown. The Filmmaker’s advisor to electronic Imaging covers either the idea and the perform, that includes full-color, in-depth insurance of crucial terminology, know-how, and industry-standard best-practices. Brown covers new industry-wide creation criteria reminiscent of ASC-CDL and the ACES workflow. Interviews with specialist cinematographers and DITs engaged on Hollywood productions equip you with wisdom that's crucial a good way to paintings in today’s movie undefined, no matter if as a cinematographer, DIT, electronic Loader, information supervisor, digital camera assistant, editor, or VFX artist.

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Additional info for The Filmmaker's Guide to Digital Imaging: for Cinematographers, Digital Imaging Technicians, and Camera Assistants

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This means that the green channel in video is similar to the luminance information. You can try this yourself in any image processing software: take an average photo and turn off the red and blue channels. The green channel by itself is usually a fairly decent black-and-white photo. Now try the same with the other channels — they are often weak and grainy by themselves. Chroma subsampling is the name for a form of data reduction that works with color difference signals. In this technology, the luma signal (black-and-white brightness or luminance) is sampled at a different rate than the chrominance signal (color).

The terms RAW, uncompressed and video sometimes get used a bit loosely. RAW isn’t really video yet, not until it is processed in some way, either in the DSP or in some other software or hardware later down the line. It isn’t video because it is not really viewable. At any stage during processing, one or more types of compression may be applied to the data. Saying that the images are uncompressed is separate from whether it is RAW or not. For example, log encoding is a form of compression — it is frequently applied to RAW data, but not necessarily.

13. (Right, below) Portraying the same series of numbers by using the log of each number results in manageable and easily readable graphs. This had enormous implications for data storage. In this very simple example, the log of 10 is 2, the log of 100 is 3, and so on. ÞlmmakerÕs guide to digital imaging 36 Log LOGS With a series of numbers, it often happens that the numbers get very large very quickly, which makes them hard to deal with and certainly hard to graph. A simple additive series such as 1, 2, 3, 4, 5, 6, etc.

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