Digital Workflow 2
Name of lecturer(s)
Learning outcomes of the course unit
The course intends to extend the students' knowledge in the field of digital workflow.
To introduce the current technologies and software for on-set, near-set, post-production and distribution work to the students.
The course emphasises correct understanding of the current standards such as ACES and HDR and on the ability to compare and evaluate the pros and cons of selected approaches,
clarify the importance of color management especially within bigger projects, including pre-production, vfx implementation, and digital cinema distribution.
introduce students to the real environment of a post-production studio and to compare the theoretical and practical approaches
To digital workflow and color management.
verify the knowledge acquired on practical examples including filming and grading camera tests, and screening the results in a digital cinema.
Mode of study
practical workshop and theoretical classes
Prerequisites and co-requisites
The course focuses on advanced theoretical and practical knowledge in the field of digital image data processing, from image acquisition to postproduction and distribution. Visual effect implementation is a particular highlight - vfx and HDR production and maintaining consistency of color grading throughout the entire production workflow.
Both practical exercises and experiments with the subsequent evaluation and comparison of different approaches are especially emphasised, e.g.: ProRes 444 vs. RAW, REC.709 vs. Log, traditional work-flow vs. ACES workflow.
The course includes an introduction to and basic practical experience with the tools and software for on-set live-grade, digital dailies, color grading, DCP mastering, projector and monitor calibration.
The whole area is viewed from the cameraman's point of view, so that the cameraman can assess the chosen workflow and be able to communicate with the other participants in the production, give recommendations and make decisions with respect to the final quality of the work as well as to the production costs.
1.recap and additional information on the basic concepts - color space, gamut, RAW, codecs, REC709, REC2020, P3, XYZ, ACES, scene reffered linear data, EXR data format. HDR - Gamma, EOTF, OETF, PQ, HLG
State-of-the-art technical and technological developments presented at the autumn IBC exhibition.
2.Overall view of Digital Workflow - preproduction, filming, postproduction and vfx, distribution. The importance of color management, defining the individual critical phases from a cameraman's perspective to maintain color consistency.
3.A more detailed view of ACES, ACES cc, ACES cct, ACES cg, ACES proxi and applications thereof.
4.Examples of current professional workflows. Traditional approach vs. ACES Color Management.
Preproduction, on-set monitoring and grading, dailies, editing, vxf, final grading, delivery, screening.
5.The work of a cameraman during preproduction, camera test, pregrading, LUT and Look preparation for the camera, LUT preparation and modification software, Arri Look creator, Lattice, 3DLUT Creator
6.Correct monitoring during the shooting, on-set monitor setup, HDR monitoring
7.Livegrade and digital dailies, color in the editing room, CDL, Software for livegrade and digital dailies - CODEX
8.Roundtrip edit-grading. Davinci Resolve - AVID, PP - Davinci Resolve
9.Vfx and CG workflow, ACES VFX Roundtrip. Davinci Resolve - AVID, PP - Davinci Resolve
10.Color grading in more detail. Choice of the working color space, ACEScc, ACES cct. Grading for HDR.
11.Delivery for digital cinema, delivery for UHDTV and HDR, uncompressed data - DCDM, XYZ color space, DCP mastering.
12.Practical exercises - camera tests, monitoring, live grade, use of LUT and look files. ACES workflow. Filming camera tests. (Rental or FAMU studio, Klimentská).
13.Practical exercise - color grading - grading of the camera tests. Practical comparison and evaluation of different approaches. Traditional vs. ACES workflow. (Digital laboratory FAMU or FAMU studio, Klimentská)
14.Practical exercise - attending color grading in a professional studio - DavinciResolve, Baselight, Scratch, ... Comparing the theoretical and practical approaches of a professional colorist (post-production studio or FAMU studio, Klimentská).
15.Practical exercises - final evaluation of the tests. DCI projector calibration check, probe and calibration software. Screening and evaluation of the camera tests. (Commercial digital cinema or digital cinema of FAMU studio, Klimentská)
Recommended or required reading
Assessment methods and criteria
100 % participation
This course is an elective for all AMU students
Schedule for winter semester 2018/2019:
Room No. 226
|Date||Day||Time||Tutor||Location||Notes||No. of paralel|
|Mon||14:00–15:35||Martin HŘEBAČKA||Room No. 226
Schedule for summer semester 2018/2019:
The schedule has not yet been prepared
The subject is a part of the following study plans
- Cinematography - 1819 (required subject)