1. 88727359 Multimedia Production
บทที่ 10
Post Production (I)

2. สารบัญ Post Production Phase Post Production Process Video Formats
Data Storage
บทที่ 10 Post Production (I)

3. ตัวอย่าง :: วิเคราะห์รายการAL
สังเกตเทคนิคที่ใช้
บทที่ 10 Post Production (I)

4. ตัวอย่าง :: วิเคราะห์รายการAL
สังเกตเทคนิคที่ใช้
การเปลี่ยนภาพ (Transition)
การใช้มุมกล้องเพื่อสื่อความหมาย
การใช้ข้อความ Title หรือ Sub-Title
บทที่ 10 Post Production (I)

5. Post Production Phase
บทที่ 10 Post Production (I)

6. Post Production Phase 3 1 2 4 5 6 7 8 9 บทที่ 10 Post Production (I)
บทที่ 10 Post Production (I)

7. Post Production Process
บทที่ 10 Post Production (I)

8. Post Production Process
1. The Selection of the Editing Software
Editing application can make your workflow run smoothly or cost you months and tons of cash
Make that decision based on the needs of your creative editor and the original format you shot your film on  find the balance
E.g. Adobe Premier Pro vs Final Cut Pro
บทที่ 10 Post Production (I)

9. Post Production Process
2. Selection of a Creative Picture Editor
Expert editor for your film is the biggest decision
Will go through all of the scripts and the scenes of the movie and decide which shots will be used to create a flow of the story correctly
A good edit has two ends; satisfaction with all the visual images and satisfaction with the sound effects of the film
บทที่ 10 Post Production (I)

10. Post Production Process
3. Selection of a Sound Editor
Need to improve the sound quality
Hire a sound editor who can make the movie look more attractive with different sound effects
Tasks 
cut the dialogue tracks
recreate those sound effects
make the cue sheet for another step, e.g. mixing
บทที่ 10 Post Production (I)

11. Post Production Process
4. Automatic Dialogue Replacement
Replace the dialogues in the film which are not adequately recorded
All the actors again deliver these dialogues
and the voice is then synced to the edited version of the movie
บทที่ 10 Post Production (I)

12. Post Production Process
5. Work with Foley Artists
Additional sounds in the edited version of the movie
Sounds of footsteps
Room noise
Ambient noise
บทที่ 10 Post Production (I)

13. Post Production Process
6. Music
Include the desired music in the film
Do not use low quality music
Use a contemporary type of music rather than traditional and public domain music
บทที่ 10 Post Production (I)

14. Post Production Process
7. The Mix
Manage the sounds effectively in the whole film
Series of the music
which will include the songs
the background sounds
etc
บทที่ 10 Post Production (I)

15. Post Production Process
8. Music and Effects (M&E)
Only music and effect version of your film
The part that you sell the rights of your movie to the foreign nation
There is a requirement of the international buyers that they need the soundtrack which is free from the English dialogues so that they can dub the dialogues in the desired manner
บทที่ 10 Post Production (I)

16. Post Production Process
9. Creating Your Opening and End Credits
Finalize your titles for the movie
There are 6 – 8 opening cards of the title and finally the Rear title crawl
These title files are then added to the final tracks
บทที่ 10 Post Production (I)

17. Post Production Process
10. Digital Cinema Package
For the final print of your film to be delivered to the cinemas, you need your digital cinema package or DCP
It will contain the final edited film in a hard drive
This hard drive will be used for the distribution of the movies into the theaters
บทที่ 10 Post Production (I)

18. Post Production Process
11. A Dialogue Script
Dialogue script for the foreign people so that they can create the subtitles accordingly
contain the codes for each and every pause and the dialogues so that the subtitles can be created by the scene and the actual dialogue
บทที่ 10 Post Production (I)

19. Post Production Process
12. Campaign Image for the Film
Getting an appropriate campaign image for your film is imperative
The picture of the film should depict the storyline of the movie
include the name
the credits for the films
Image will create a first impression
บทที่ 10 Post Production (I)

20. Post Production Process
13. Trailer
Trailer should be seconds long
should have the ability to deliver the moods and atmosphere of the movie
บทที่ 10 Post Production (I)

21. Video Formats
บทที่ 10 Post Production (I)

22. Video Formats
Digital cinema formats are usually specified in terms of horizontal resolution
"nK" notation, where n is the multiplier of 1024 such that the horizontal resolution of a corresponding full-aperture, digitized film frame is exactly 1024n pixels
บทที่ 10 Post Production (I)

23. Video Formats For instance
a 2K image is 2048 pixels wide, and a 4K image is 4096 pixels wide
Vertical resolutions vary with aspect ratios though
so a 2K image with an HDTV (16:9) aspect ratio is 2048×1152 pixels, while a 2K image with a SDTV ratio (4:3) is 2048×1536 pixels
บทที่ 10 Post Production (I)

24. Video Formats
The Digital Cinema Initiatives standard for cinema usually relies on a 1.89:1 aspect ratio
thus defining the maximum container size for
4K as 4096×2160 pixels
2K as 2048×1080 pixels
บทที่ 10 Post Production (I)

25. https://en.wikipedia.org/wiki/Digital_cinematography
Video Formats
บทที่ 10 Post Production (I)

26. Video Formats AL
ให้นิสิตค้นหาว่า ในปัจจุบันภาพยนตร์ (digital cinematography) ที่ความละเอียดเท่าใดได้รับความนิยมสูงสุด และสถานการณ์มีแนวโน้มอย่างไร
บทที่ 10 Post Production (I)

27. Data Storage
บทที่ 10 Post Production (I)

28. Data Storage 1. Tape-based workflows Video is recorded to tape on set
 is ingested into a computer running non-linear editing software, using a deck
Upon ingestion, a digital video stream from tape is converted to computer files
These files can be edited directly or converted to an intermediate format for editing
บทที่ 10 Post Production (I)

29. Data Storage 1. Tape-based workflows
Then video is output in its final format
to a film recorder for theatrical exhibition
or back to video tape for broadcast use
Original video tapes are kept as an archival medium
the tape-based workflows have become marginal in recent years
บทที่ 10 Post Production (I)

30. Data Storage 2. File-based workflows
Because of increased capacity and reduced cost of non-linear storage solutions such as hard disk drives, optical discs, and solid-state memory
 digital video is recorded as digital files onto random-access media
files can be easily copied to another storage device, typically to a large RAID (array of computer disks)
บทที่ 10 Post Production (I)

31. Data Storage 2. File-based workflows RAID arrays:
"managed" (e.g., SANs and NASs)
"unmanaged" (e.g., JBoDs on a single computer workstation)
the throughput required for real-time (320 MB/s for 24fps) or near-real-time playback in post-production  "on-line" storage
บทที่ 10 Post Production (I)

32. https://en.wikipedia.org/wiki/Digital_cinematography
Data Storage
2. File-based workflows
RAID arrays:
Not real-time playback performances (typically for lettering, subtitling, versioning and other similar visual effects) use slower RAID stores  “mid-line” storage
Long-term archiving is accomplished by backing up the digital files from the RAID, often to data tapes (like LTOs)
บทที่ 10 Post Production (I)

33. บทที่ 10 Post Production (I)

34. คำถาม
บทที่ 10 Post Production (I)