Wednesday, June 8, 2011

Thursday Thirteen - 214 - 13 Things About Moving Onto the High Resolution Editing System During Post Production












1 - Met up with Doug Woods for our third editing session at 902 POST, his post production facility here in Halifax, Nova Scotia.

2 - The editing system shown above displays the offline edit stage - this part took us two sessions to complete.

3 - In the offline stage, the creative decisions are made by the editor and director using the original footage as shot by the director of photography.

4 - The director verifies which shots will be used, and the editor lays them out so that the sequence of shots tells the story.

5 - At this point, the final decisions in digital file form are loaded onto the high resolution editing system. For this project, Doug is using the Avid editing system. I can vouch for its gee-whiz, jaw-dropping, cutting-edge hallmarks.

6 - For the initial session with the high res system, Doug completed the first of two sequences in online edit form.

7 - At this point, all the technical elements are in place at full resolution. He can now add backgrounds and effects to the footage shot against greenscreen.

8 - Using the chroma key process, Doug places the photographic stills which I chose to stand in for exterior locations, and adjusts the moving footage to match the implied exterior. This stage is called compositing.

9 - During this process, Doug creates a negative image where the background is black and the moving figure is white. If you've seen Sin City, you'll know what these images look like. He then adjusts any greenscreen spill which shows up as gray sections on the black or white figures. After these adjustments, the positive footage then reads true against the supposed exterior.

10 - He can also draw a section around the middle ground of the two-dimensional background photo, and using his effects toolbox, blur the section selected. This contrasts nicely with the foreground figures, who are in focus. It gives the impression of greater depth of field to the background, which adds to a feeling of authenticity for this effect.

11 - He added a glowing effect to surround a near-death vision of the main character's beloved, as well as slowing her movements to suggest that she is a vision and not moving in real time.

12 - He morphed one character into another by first matching the two characters' body positions in the frame, then matching up eyes to eyes, nose to nose. Freakin' cool.

13 - Finally, he color corrected the shots to match the lighting of the supposed source of the exteriors. For example, as the sun sets, he bathes the main character in a warm glow. But when twilight comes, he leeches out the warmth to create the cool tones of moonlight.

Stay tuned to A Piece of My Mind for more updates as the book trailer nears completion.

10 comments:

Melissa Bradley said...

These editing explanations mostly go straight over my head. I am glad you are doing these, though as I have learned quite a bit. Your enthusiasm certainly shines through your words. :)

Brenda ND said...

This is very interesting. I learned something. Thanks.

Julianne MacLean said...

Can't wait to see the finished product!

Julianne MacLean said...

Though "product" is probably not the right word. Let me rephrase:

Can't wait to see the finished work of art!

BPD in OKC said...

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I am Harriet said...

That whole concept is so interesting.

Have a great day!
http://harrietandfriends.com/2011/06/96-today/

Bev Pettersen said...

Wow, that sounds so neat. I don't understand all of it but can't wait to see the finished version.

Rekaya Gibson said...

I did not understand most of it, but I admire people who do. Thanks for sharing.

The Food Temptress

Alice Audrey said...

This is going to be one heck of a video.

Travis Cody said...

Fascinating!