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If you’re reading this as part of an academic course, several of these softwares can have certifications of competency attached. Fortunately, most of the softwares listed in this book are freeware, or have demo or trial versions for you to load on your personal computer. As you follow along, each lesson and exercise will focus on a skill or technique that is best learned hands-on. What’s required to get the most out of the information in this book? A computer, some specific software, and digital assets to play with.
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Both have newsletters which are worth the free subscription. Another is the Tao Of Color, with a wealth of information and links focused on color correction. This site has a great deal of valuable information on workflows and related information. There are other great resources out there on the ‘interweb’ that should be part of your ongoing study. It might be the most important chapter in this tome. In-fact, we’ll spend a short chapter specifically on this topic. But there are others to please, or not piss-off, involved in this workflow. The DIT is a very close second, and with most older non-digital camera savvy DoPs, you might be the sharpest pencil in the crew. As a Digital Imaging Technician (DIT), there is only one job on a digital production project for which more technical knowledge is required - that’s the Director of Photography (DoP). Think of this as your basic course in protecting others ass
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It’s been a vast waste land, lacking standards, full of rumor, conjecture, ignorance and just plain bad practices. The time from the moment the camera ‘mag’ (camera memory card or hard drive) is ejected from the digital camera, until those properly formatted files are handed to the editorial department, is what this book is all about. What follows is an attempt at bringing the wrangling of those ones and zeros, which create photos, videos and documents, under your control. After all, they do tend to disappear at the most awkward times.
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Unquestionably, the most substantial problem facing us, when it comes to digital assets, is how to handle and protect them.
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Book layout created in iBooks Author.Ĭhapter 4 Camera to Editorial: The Crooked PathĬhapter 5 Best Practices On Set: Don’t Ever Break TheseĬhapter 6 Heavy Iron, RAW Files and The Great ChaseĮxercise 8 DaVinci Resolve One-Light WorkflowĮxercise 12: Syncing Non-Timecode Matched Files in SCRATCHĮxercise 15: SCRATCH Output for Edit & DailiesĮxercise 17: Flipping RED Footage using REDCINE-X Pro Published by: Trim Enterprises, LLC ISBN 978-1-63415-875-6 Cover Photography and layout by Adam Scott Font: Baskerville, Helvetica regular and light. They are the property of their indicated owners, but used here with credit attributed and/or permission.
Images and graphics have been noted as well. They have been identified where possible, within the text. Those belong solely and exclusively to their owners. As well, and you know the drill, there are many copyrighted or trademarked names and identifiers in this text. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system without express written permission from the author / publisher. Any unauthorized reprint or use of this material is prohibited.
This book contains material protected under International and Federal Copyright Laws and Treaties. 2nd Edition v1.01 Contact Info.: ALL RIGHTS RESERVED. Trim Title of book: Digital Imaging Technician: A Very Practical Guide to On-set Asset Management of Digital Media.
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