Digital Workflow

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Garant předmětu

Martin HŘEBAČKA

Jméno vyučujícího (jména vyučujících)

Martin HŘEBAČKA

Výsledky učení dané vzdělávací složky

The course aims to give the students - future cameramen an overview of the fields of filming with a digital camera, its basic technical setup, digital postproduction and distribution. It focuses on the individual critical stages in the process, the consistency of color rendering from shooting to the final presentation and distribution of the work. Students will get a clearer understanding of the roles of crew members and post-production staff involved in the digital workflow, as DIT - Digital Imaging Technician , Data Wrangler (data department), Digital Dailies Technician (dailies department), Assistant Editor, Colourist, vfx Compositor, final delivery and QC output or digital cinema projectionist. It will help them understand their role as a cameraman in the whole process of digital workflow and mutual communication methods better.

Forma studia

seminar

Předpoklady a další požadavky

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Obsah kurzu

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.

Themes

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)

Doporučená nebo povinná literatura

Equipment and facilities of Studio FAMU.

The White Book – technical specification

Hodnoticí metody a kritéria

80% attendance

Poznámka

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Rozvrh na zimní semestr 2021/2022:

• Týdenní přehled
• Seznam

Rozvrh na letní semestr 2021/2022:

Rozvrh zatím není připraven

Předmět je součástí následujících studijních plánů

• Kamera - magistr_2021 (povinný předmět)