東華大學圖書館 |

High definition postproduction = editing and delivering HD video /

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	High definition postproduction/ Steven E. Browne.
其他題名:	editing and delivering HD video /
作者:	Browne, Steven E.{me_controlnum}
出版者:	Amsterdam ;Elsevier Focal Press, : c2007.,
面頁冊數:	1 online resource (xvii, 230 p.) :ill.
附註:	Includes index.
內容註:	Cover -- Front Cover -- High Definition Postproduction: Editing and Delivering HD Video -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- Chapter 1: High Definition-A Multi-Format Video -- Why This Book Exists -- High Definition is Settling Down and Growing Up -- High Definition Size -- Delivery Determines Production Format -- History -- A Typical Family -- The "Universal" Format -- Even More Choices and Confusion -- High Definition is Not New -- Government Gives Additional Channels for Television Stations -- HDV Excitement -- Europe Heads Into HD Land -- More United States Government Mandates -- Digital Broadcasting is Not Necessarily HD -- Why Digital Broadcasting is So Important to the Government -- Broadcast Formats -- High Definition Decoder/Tuner -- HD is a Series of Formats -- Formats Keep Arriving -- Chapter One Summary -- Chapter 2: What Is High Definition? -- Frame Rate -- Frame Recording Method -- Contrast Between Progressive and Interlaced -- Bit Depth -- Chroma Subsampling -- Compression -- Putting It Together -- The Production Choice -- Mixing SD and HD -- High Definition Production Choice Summary -- Everything is Changing -- When HD is Not True HD: Uprezing Video to HD -- Budget Considerations -- Computer File Size for High Definition Video -- Conversion Problems -- True Versus Converted Frames -- How to Choose an HD Format for a Particular Show -- Offline/Online Edit System Compatibility -- Nonlinear Editors With No Frame Rate Restrictions -- HD is Looking Good -- Lossy Versus Lossless Compression -- Shoot, Edit, and Deliver at One Frame Rate-What a Concept -- Chapter Two Summary -- High Definition Production Choice Summary -- Chapter 3: Myths and Questions About HD -- Can HD Be Seen on a Regular Television? -- Why Are There So Many High Definition Frame Rates? -- Why Did Congress Delay Turning Off the NTSC Broadcast Channels? -- Is Digital TV HD? -- Is Uncompressed the Best Way to Shoot HD? -- Is HD Digital TV? -- Do Television Stations Always Broadcast the Same Signal on Their Digital and Analog Channels? -- Is HDV the Same Quality as HD? -- Is High Definition Recorded the Same Way on All HD Machines? -- Is HD Used for Film Production? -- Are High Definition Images Always Used in the Digital Intermediate Process? -- Doesn't Film Have More Resolution Than HD? -- Isn't HD Just Like NTSC Only Wider and With More Detail? -- Is It True That a High Definition Frame Contains Much More Information Than an NTSC (Standard Definition) Frame? -- Is HD Going to Replace Film? -- Is HD Going to Replace SD? -- Is HD the Best Format? -- Is Any HD Recording High Definition? -- Do Progressive Frames Have More Visual Quality Than Interlaced Frames? -- Will I Always Receive the Same High Definition Quality Images on My High Definition Television Set? -- Chapter Three Summary -- Chapter 4: More on the Technical Side -- Frame Rates -- 1080psf23.98 -- 1080i59.94 (a.k.a. 1080i29.97) -- 1080p24, 720p24, 720p23.98, and 1080psf23.98 -- 720p59.94 -- 1080psf29.97 -- Integer Frame Rates -- Mbps -- Throughput Needs -- All Compressions Are Not Eq.
標題:	Motion pictures - Editing. -
電子資源:	http://www.sciencedirect.com/science/book/9780240808390
ISBN:	9780080471235 (electronic bk.)

High definition postproduction = editing and delivering HD video /
Browne, Steven E.{me_controlnum}

High definition postproductionediting and delivering HD video /[electronic resource] :Steven E. Browne. - Amsterdam ;Elsevier Focal Press,c2007. - 1 online resource (xvii, 230 p.) :ill.

Includes index.

Cover -- Front Cover -- High Definition Postproduction: Editing and Delivering HD Video -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- Chapter 1: High Definition-A Multi-Format Video -- Why This Book Exists -- High Definition is Settling Down and Growing Up -- High Definition Size -- Delivery Determines Production Format -- History -- A Typical Family -- The "Universal" Format -- Even More Choices and Confusion -- High Definition is Not New -- Government Gives Additional Channels for Television Stations -- HDV Excitement -- Europe Heads Into HD Land -- More United States Government Mandates -- Digital Broadcasting is Not Necessarily HD -- Why Digital Broadcasting is So Important to the Government -- Broadcast Formats -- High Definition Decoder/Tuner -- HD is a Series of Formats -- Formats Keep Arriving -- Chapter One Summary -- Chapter 2: What Is High Definition? -- Frame Rate -- Frame Recording Method -- Contrast Between Progressive and Interlaced -- Bit Depth -- Chroma Subsampling -- Compression -- Putting It Together -- The Production Choice -- Mixing SD and HD -- High Definition Production Choice Summary -- Everything is Changing -- When HD is Not True HD: Uprezing Video to HD -- Budget Considerations -- Computer File Size for High Definition Video -- Conversion Problems -- True Versus Converted Frames -- How to Choose an HD Format for a Particular Show -- Offline/Online Edit System Compatibility -- Nonlinear Editors With No Frame Rate Restrictions -- HD is Looking Good -- Lossy Versus Lossless Compression -- Shoot, Edit, and Deliver at One Frame Rate-What a Concept -- Chapter Two Summary -- High Definition Production Choice Summary -- Chapter 3: Myths and Questions About HD -- Can HD Be Seen on a Regular Television? -- Why Are There So Many High Definition Frame Rates? -- Why Did Congress Delay Turning Off the NTSC Broadcast Channels? -- Is Digital TV HD? -- Is Uncompressed the Best Way to Shoot HD? -- Is HD Digital TV? -- Do Television Stations Always Broadcast the Same Signal on Their Digital and Analog Channels? -- Is HDV the Same Quality as HD? -- Is High Definition Recorded the Same Way on All HD Machines? -- Is HD Used for Film Production? -- Are High Definition Images Always Used in the Digital Intermediate Process? -- Doesn't Film Have More Resolution Than HD? -- Isn't HD Just Like NTSC Only Wider and With More Detail? -- Is It True That a High Definition Frame Contains Much More Information Than an NTSC (Standard Definition) Frame? -- Is HD Going to Replace Film? -- Is HD Going to Replace SD? -- Is HD the Best Format? -- Is Any HD Recording High Definition? -- Do Progressive Frames Have More Visual Quality Than Interlaced Frames? -- Will I Always Receive the Same High Definition Quality Images on My High Definition Television Set? -- Chapter Three Summary -- Chapter 4: More on the Technical Side -- Frame Rates -- 1080psf23.98 -- 1080i59.94 (a.k.a. 1080i29.97) -- 1080p24, 720p24, 720p23.98, and 1080psf23.98 -- 720p59.94 -- 1080psf29.97 -- Integer Frame Rates -- Mbps -- Throughput Needs -- All Compressions Are Not Eq.

* Real-world postproduction paths show how it's being done today * Numerous HD tables clear up what format is used for which purpose * Ample information on HDV * Debunks myths and answers common questions about HD Avoid costly missteps in postproduction and get it right the first time with this book. Written by an in-the-trenches professional who works with HD every day, High Definition Postproduction is an overview of this exciting opportunity for film and video production and postproduction professionals. High Definition production and editing is here and definitely a reality. High-def network shows are aired on a weekly basis. Several HD-only channels are well into their production schedules. HD is even used for major film productions and post production processes. However, unlike the existing 4x3, NTSC format, the HD world has many variables. This ability to choose various frame rates, frame sizes, bit rates, and color space options makes this an exciting, yet somewhat daunting challenge. The future may hold even more options as electronics continue to evolve and manufactures continue to exploit this format. Naturally, all of these options can lead to confusion and errors. This book begins with an overview of the HD format and then covers commonly-asked questions. A chapter on shooting details how to smooth the path for post. Postproduction workflows, including the digital intermediate, are covered in great detail, and are enhanced by real-world examples. From HDV to the high-end cameras used in Star Wars and Sin City, this book is your complete guide to HD. * Real-world postproduction paths show how it's being done today * Numerous HD tables clear up what format is used for which purpose * Ample information on HDV * Debunks myths and answers common questions about HD.

ISBN: 9780080471235 (electronic bk.)

Source: 130486:130590Elsevier Science & Technologyhttp://www.sciencedirect.comSubjects--Topical Terms:

627456
Motion pictures
--Editing.Index Terms--Genre/Form:

542853
Electronic books.

LC Class. No.: TR899 / .B7225 2007eb

Dewey Class. No.: 791.43

High definition postproduction = editing and delivering HD video /
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505 0 $a Cover -- Front Cover -- High Definition Postproduction: Editing and Delivering HD Video -- Copyright Page -- Dedication -- Contents -- Acknowledgments -- Introduction -- Chapter 1: High Definition-A Multi-Format Video -- Why This Book Exists -- High Definition is Settling Down and Growing Up -- High Definition Size -- Delivery Determines Production Format -- History -- A Typical Family -- The "Universal" Format -- Even More Choices and Confusion -- High Definition is Not New -- Government Gives Additional Channels for Television Stations -- HDV Excitement -- Europe Heads Into HD Land -- More United States Government Mandates -- Digital Broadcasting is Not Necessarily HD -- Why Digital Broadcasting is So Important to the Government -- Broadcast Formats -- High Definition Decoder/Tuner -- HD is a Series of Formats -- Formats Keep Arriving -- Chapter One Summary -- Chapter 2: What Is High Definition? -- Frame Rate -- Frame Recording Method -- Contrast Between Progressive and Interlaced -- Bit Depth -- Chroma Subsampling -- Compression -- Putting It Together -- The Production Choice -- Mixing SD and HD -- High Definition Production Choice Summary -- Everything is Changing -- When HD is Not True HD: Uprezing Video to HD -- Budget Considerations -- Computer File Size for High Definition Video -- Conversion Problems -- True Versus Converted Frames -- How to Choose an HD Format for a Particular Show -- Offline/Online Edit System Compatibility -- Nonlinear Editors With No Frame Rate Restrictions -- HD is Looking Good -- Lossy Versus Lossless Compression -- Shoot, Edit, and Deliver at One Frame Rate-What a Concept -- Chapter Two Summary -- High Definition Production Choice Summary -- Chapter 3: Myths and Questions About HD -- Can HD Be Seen on a Regular Television? -- Why Are There So Many High Definition Frame Rates? -- Why Did Congress Delay Turning Off the NTSC Broadcast Channels? -- Is Digital TV HD? -- Is Uncompressed the Best Way to Shoot HD? -- Is HD Digital TV? -- Do Television Stations Always Broadcast the Same Signal on Their Digital and Analog Channels? -- Is HDV the Same Quality as HD? -- Is High Definition Recorded the Same Way on All HD Machines? -- Is HD Used for Film Production? -- Are High Definition Images Always Used in the Digital Intermediate Process? -- Doesn't Film Have More Resolution Than HD? -- Isn't HD Just Like NTSC Only Wider and With More Detail? -- Is It True That a High Definition Frame Contains Much More Information Than an NTSC (Standard Definition) Frame? -- Is HD Going to Replace Film? -- Is HD Going to Replace SD? -- Is HD the Best Format? -- Is Any HD Recording High Definition? -- Do Progressive Frames Have More Visual Quality Than Interlaced Frames? -- Will I Always Receive the Same High Definition Quality Images on My High Definition Television Set? -- Chapter Three Summary -- Chapter 4: More on the Technical Side -- Frame Rates -- 1080psf23.98 -- 1080i59.94 (a.k.a. 1080i29.97) -- 1080p24, 720p24, 720p23.98, and 1080psf23.98 -- 720p59.94 -- 1080psf29.97 -- Integer Frame Rates -- Mbps -- Throughput Needs -- All Compressions Are Not Eq.
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