About Course
Registration Fee: : $820 (฿29,000)
The role of the professional DIT has solidified as the “glue” that binds production and post-production together. It’s a unique technical position that has one foot in both aspects of the production process. As more and more of “post” moves on set, the DIT is challenged to create workflows that allow quicker iteration and experimentation, in addition to having the principal responsibility for media management and asset protection.
The field of digital cinema is constantly in a rapid state of improvement and change. New cameras, new delivery methods, and new video standards seem to come out every year. This overwhelming variety of technical formats and specifications results in the necessity of “snowflake” workflows, where every production now needs its own unique digital media workflow to most efficiently move the camera masters through the production process.
This class is designed to keep you on top of the latest technology and future industry trends, while still grounding you in the fundamentals of digital cinema workflows and data management. The idea of the course is to give you a deep understanding of the core concepts and technologies involved, so that you can design your own custom “snowflake” workflow for any production. We will be using and getting familiar with a wide range of software and hardware in class in order to achieve this goal.
Day 1
Introduction
- Intro – John
- Class Structure
- Learn one, Do one, Teach one
- Collaborative rather than lecture
- Workshop- we’ll be running through real world workflows and scenarios.
- Get to know each-other
- Offloading Cards
- Checksums
- Bit Rot
- Data Rates
- Card Types
- Audio
- Checksums
- Software
- Resolve
- Shotput Pro
- Hedge
- Silverstack
- Best Practices
- At least 2 copies of your media before you give a card back.
- Camera Op deletes and formats the cards (remind them).
- Master and Backup drives stored and travel separately.
- Keep New Cards Hidden
- Always Physically Hand Over Cards Face to Face.
- Treat Data Like a Giant Suitcase Full of Money.
- Reports and Troubleshooting
- Common Errors
- Formatted Cards
- Unfinished writes (card yanked, battery dead)
- http://www.cgsecurity.org/wiki/PhotoRec
- Clip Reports
- Work with DP and Producers to get the data they need.
- QC is necessary for Streaming Services.
- Live Grading in Resolve and Silverstack
- Resources Needed
- CDL and Gallery
- Common Errors
- Color Correction Basics in Resolve
- Setup
- Setup Database
- Setup Users
- Setup Preferences
- Setup Project Settings
- RAW – Blackmagic Camera Settings
- Exercise
- Setup a project
- Color Correction
- Scopes
- Waveform
- Vectorscope
- I- line
- RGB Parade
- Primary Color Correction
- Luma
- Shadows
- Highlights
- Midtones
- Chroma
- Color Wheel
- Saturation
- Tools
- Wheels
- Curves
- Sliders
- Control Surface
- Exercises
- Adjust footage with RAW tools.
- Identify Color Problems using the Scopes.
- Optimize Color and Dynamic Range for Footage
- Scopes
Day 2
- Dailies Creation
- Importance of Dailies
- Dailies Delivery Systems
- Pix
- Dax
- Light Iron
- USB
- Dailies Formats
- Editorial Proxies Creation
- LUTS and Color Correction
- RAW Data settings
- Burn Ins
- Syncing Sound
- Light Iron
- Avid DNX
- FCP
- Archiving and Backups
- Three Copies
- Master
- Backup
- Archive
- LTO Archive Solutions
- Hardware
- LTO levels
- Software
- Tar
- LTFS
- AXF (http://www.openaxf.org/)
- 3rd Party
- Delivery
- Hardware
- Software
- Wide or Tall?
Instructor
John Burkhart
- DIT
- Post Production Specialist
- Writer of DaVinci Resolve Reference Manual
- Former broadcast engineer at Warner Bros Television
- Former Editor-in-Chief of Videomaker Magazine.
- Former Director of Post-Production
- Former Adjunct Professor for New York University’s Tisch School of the Arts Asia