KARUNYA SCHOOL OF ELECTRICAL SCIENCES

Department Of Electronics and Media Technology

LAB MANUAL

MT244 – Post production techniques lab

CREDIT:0:0:2

Name

Signature

Prepared by

Mr. E Jerry Rajadhas, Mr. D. Leo Gertrude

Approved by

Dr.G.Josemin Bala

(HOD – E&MT)

KARUNYA UNIVERSITY (Established under sec.3 of UGC Act, 1956 vide Notification No. 9-3-2004 of Govt. of India)

Karunya Nagar, Coimbatore – 641114

Post production techniques lab – MT244 Credit :0:0:2 Marks (50+50) Course Objective: The students will be practically taught to apply post production techniques and procedures involved in TV and Film Production. Course Outcome: - This course will enable the students to be creatively and technically operational in TV and Film Industry. List of Exercises:

Ex No Exercise Title

1 Research & Reference

2 Script breakdown & Script

3 Indoor Production

4 Outdoor Production

5 Editing-Rough cut

6 Editing-First Cut

7 Editing-Final Cut With effects

8 ADR/Voice over track

9 Foley/SFX track

10 Re-recording/Music track

Staff In-charge HOD

Exercise No: 1

Research & Reference

Objective:

To learn the references and research stages of pre -production in making a short film

Procedure:

1. Finalise the theme of the short film a. Theme: Usage of Minute with mixed theme of war

2. Collect the resources accordingly. a. For the theme of war, sources have to be collected from library. b. Assume the movie revolves in Sarajevo, Bosnia and Rome, Italy. c. The sources have to be collected on Sarajevo, Bosnia and Rome, Italy. d. Historic perspective point of places has be collected.

3. Sources for collecting data’s. a. Library b. Internet c. Previously done short films

Result:

The references and resources are collected for the short film making on a theme.

Exercise No: 2

Script breakdown & Script

Objective:

To learn the Scripting stages of pre -production in making a short film

Procedure:

Development

1. In this stage, the project's producer finds a story, which may come from a book, play,

another film, a true story, original idea, etc.

2. After identifying a theme or underlying message, the producer works with writers to

prepare a synopsis.

3. Next they produce a step outline, which breaks the story down into one-paragraph

scenes that concentrate on dramatic structure.

4. Then, they prepare a treatment, a 25 to 30 page description of the story, its mood, and

characters.

5. Next, a screenwriter writes a screenplay.

6. The screenwriter may rewrite it several times to improve dramatization, clarity,

structure, characters, dialogue, and overall style.

7. The producer and screenwriter prepare a film pitch, or treatment, and present it to

potential financiers

8. By this stage, the film should have a clearly defined marketing strategy and target

audience.

Pre-production

1. In pre-production, the film is designed and planned.

2. The production is storyboarded and visualized with the help of illustrators and

concept artists.

3. A production budget is drawn up to plan expenditures for the film.

4. The producer hires a crew.

5. The nature of the film, and the budget, determine the size and type of crew used

during filmmaking.

6. The director is primarily responsible for the storytelling, creative decisions and acting

of the film

7. The assistant director (AD) manages the shooting schedule and logistics of the

production, among other tasks. There are several types of AD, each with different

responsibilities.

8. The casting director finds actors to fill the parts in the script. This normally requires

that actors audition.

9. The location manager finds and manages film locations. Most pictures are shot in the

controllable environment of a studio sound stage but occasionally, outdoor sequences

call for filming on location.

10. The production manager manages the production budget and production schedule.

11. The director of photography (DoP) is the cinematographer who supervises the

photography of the entire film

12. The director of audiography (DoA) is the audiographer who supervises the

audiography of the entire film

13. The production sound mixer is the head of the sound department during the

production stage of filmmaking.

14. They record and mix the audio on set - dialogue, presence and sound effects in mono

and ambience in stereo. They work with the boom operator, Director, DoA, DoP, and

First AD.

15. The sound designer creates the aural conception of the film], working with the

supervising sound editor. On some productions the sound designer plays the role of a

director of audiography.

16. The composer creates new music for the film. (usually not until post-production)

17. The production designer creates the visual conception of the film, working with the

art director

18. The art director manages the art department, which makes production sets

19. The costume designer creates the clothing for the characters in the film working

closely with the actors, as well as other departments.

20. The make up and hair designer works closely with the costume designer in addition to

create a certain look for a character.

21. The storyboard artist creates visual images to help the director and production

designer communicate their ideas to the production team.

The choreographer creates and coordinates the movement and dance - typically for musicals.

Some films also credit a fight choreographer.

Result:

The Scripting stage of a short filmmaking is done.

Exercise No: 3

Indoor Production

Objective:

To learn the Techniques of the indoor production using lights.

Equipments Used:

• DSR PD- 170 camera

• Tripod

• Monitor

• Cassette

• Lights

Description:

The Standard 3-Point Lighting Technique:

The Three Point Lighting Technique is a standard method used in visual media such

as video, film, still photography and computer-generated imagery. The technique uses

three lights called the key light, fill light and back light. Naturally we will need three

lights to utilize the technique fully, but the principles are still important even if you

only use one or two lights.

As a rule:

If you only have one light, it becomes the key.

If you have 2 lights, one is the key and the other is either the fill or the backlight.

Key Light

This is the main light. It is usually the strongest and has the most influence on the

look of the scene. It is placed to one side of the camera/subject so that this side is well

lit and the other side has some shadow

Fill Light

This is the secondary light and is placed on the opposite side of the key light. It is

used to fill the shadows created by the key. The fill will usually be softer and less

bright than the key. To acheive this, you could move the light further away or use

some spun. You might also want to set the fill light to more of a flood than the key.

Back Light

The back light is placed behind the subject and lights it from the rear. Rather than

providing direct lighting (like the key and fill), its purpose is to provide definition and

subtle highlights around the subject's outlines. This helps separate the subject from the

background and provide a three-dimensional look.

Common Lighting Terminology

Ambient Light The light already present in a scene, before any

additional lighting is added.

Incident Light Light seen directly from a light source (lamp, sun,

etc).

Reflected Light Light seen after having bounced off a surface.

Colour Temperature A standard of measuring the characteristics of

light, measured in kelvins.

Contrast Ratio The difference in brightness between the brightest

white and the darkest black within an image.

Key Light The main light on the subject, providing most of

the illumination and contrast.

Fill Light A light placed to the side of the subject to fill out

shadows and balance the key light.

Back Light A light placed at the rear of a subject to light from

behind.

Hard Light Light directly from a source such as the sun,

traveling undisturbed onto the subject being lit.

Soft Light Light which appears to "wrap around" the subject

to some degree. Produces less shadows or softer

Spot A controlled, narrowly-focused beam of light.

Flood A broad beam of light, less directional and intense

than a spot.

Tungsten Light from an ordinary light bulb containing a thin

coiled tungsten wire that becomes incandescent

Halogen Type of lamp in which a tungsten filament is

sealed in a clear capsule filled with a halogen gas.

Fresnel A light which has a lens with raised circular ridges

on its outer surface. The fresnel lens is used to

Incandescent Incandescent lamps produce heat by heating a wire

filament until it glows. The glow is caused by the

LIGHTING EQUIPMENTS

Light Meters

A light meter, also known as an exposure meter, is a tool used to measure light levels.

Light meters are commonly used in photography, motion film and video to help

determine the ideal exposure setting. Many cameras have built-in light meters and this

function is often carried out automatically. However serious professionals still

regularly take manual readings.

LIGHT STANDS, CLAMPS, ETC

In the context of lighting equipment, the term Lighting Support refers to the range of

systems used to support lights and hold them in the correct position. This usually

means light stands and clamps. Clamps and other accessories are sometimes referred

to as grip gear. Like microphone stands, most lighting stands and clamps use a

standard system of fittings.On simple light stands like the ones pictured, the light

slides down onto the fitting and screws tight. Clamps like those below can be attached

to any appropriate solid object.

Result:

The Indoor shots of the short film done using indoor lights.

Exercise No: 4

Outdoor Production

Objective:

To learn the Techniques of the outdoor production using Reflectors and other

equipments.

REFLECTOR BOARD

Sometimes referred to as a "flecky board", this is a specially-designed reflective surface

which is usually used to act as a secondary light source. It is particularly useful as a fill light

when working in strong sunlight. Reflector boards come in white, silver or gold surfaces.

Many reflectors have a different type of surface on each side, giving you two lighting

options. Gold surfaces provide a warmer look than silver or white.

If you don't have a reflector board you can improvise. Almost any suitably-sized object with

a reflective surface will do. Some examples include:

• Windscreen sunshades for automobiles

• Polystyrene sheets

• Tin foil on cardboard (try both sides of the foil for different effects)

• Whiteboard

Reflector boards are lightweight and flexible, and are normally folded up for transport in a

small carry-case. They can be tricky to fold.

LIGHTING CONSOLES

Lighting consoles are systems which control lighting - much as a sound mixer controls audio

and a vision switcher controls video. Consoles are typically a combination of hardware and

software. Operated by a lighting technician, consoles are used in a wide range of applications

including stage, studio, film set, etc.Modern consoles include options for automating certain

tasks and effects. Complex productions rely heavily on such automation.Software used:

Procedure:

1. Fix the camera on the tripod

2. Check the sprit level; if it’s not correct adjust the sprit level.

3. Check the white balance.

4. Fix the three point lights and practice the different kind of lights& its techniques.

5. View the feedback through monitor.

Result:

The reflectors lighting techniques were studied using DSR -PD 170 camera

Exercise No: 5

Editing-Rough cut

Objective:

To learn the Techniques of Rough cut for a dramatic scence.

Equipments Used:

• Software; AVID • VTR • Tape

• Firewire

Procedure:

There are two types of scenes in a dramatic motion picture. Action sequences and

Conversations. This is important because conversations are edited the opposite of action

sequences.

Conversation vs. Action

Action = no dialog

Action sequences are scenes (or parts of scenes) where there is no dialog.

Conversation = dialog

Conversations are scenes (or parts of scenes) where the actors continually talk back

and forth. (Normally, a monolog is considered an action sequence since there is no natural

rhythm between the actors.)

Golden Rule: When two or more people are talking back and forth, you have a

"conversation". The rest of the time, the scene is considered "action."

Editing Action -Look for the best images

Action sequences are edited based on the images on the screen. For action sequences, the

picture is the most important thing. Because there is no dialog to worry about, you tell the

story visually.

Editing Dialog (a conversation) \Rightarrow Keep the natural rhythm between the actors

In contrast with action scenes, a conversation is edited based on the rhythm of the dialog as

the actors talk back and forth. The rhythm of the dialog must sound perfectly natural... which

is surprising since, most of the time, each actor's dialog comes from a different shot.

Special Note: The gap between the dialog must seem natural. You must decide how soon

to cut from one actor to the next.

In a conversation, the audio is more important than the picture. Therefore, a conversation is

edited based on the audio, not the picture.

If the picture is bad and the audio is good, the audience will think it is supposed to be that

way. If the picture is terrific and the audio is bad, the audience will complain.

Example - Selecting the shots in a conversation

A typical conversation between two people is filmed mostly with over-the-shoulder shots

using a single overhead microphone which points only to one of the actors.

Sound from the first actor

When the camera is pointed at Actor "A" over the shoulder of Actor "B", you will hear the

dialog for Actor "A" clearly. But the dialog from Actor"B" will not be clear because the only

microphone is directly above Actor "A".

Sound from the second actor

When the camera is pointed at Actor "B" over the shoulder of Actor "A", the dialog for

Actor "B", who is now directly under the boom microphone, will be clear but the dialog from

Actor "A" will be faint.

Rule

Therefore, when you edit a typical scene, you use the dialog (sound) of Actor "A" from the

shots of Actor "A" and the dialog of Actor "B" from the shots of Actor "B".

You have no choice. Because this is the only good dialog, you MUST edit the scene this way.

However, if you can seperate the audio from the video you can mix and match the good audio

with video that doesnt nessecaryily go with it. (for example, if you want a shot of Actor B's

reaction to Actor A's line, you can use the dialouge from the actor A clip on the actor B shot).

The only adjustable element

The only choice you have is the gap or space between the dialog. Your goal is to make this

gap seem totally natural. (This might seem trivial but it is not. Also, there is a special

circumstance where you will add huge gaps between the actor's dialog. See Narrative Music

below.)

Result:

The Rough Cut is done for the short film.

Exercise No: 6

Editing-First Cut

Objective:

To learn the Techniques of first cut for a dramatic scene.

Equipments used:

• Software; AVID • VTR • Tape

• Firewire

Procedure:

1. Now the process of approaching a fine cut begins.

2. Scenes will have individual problems, and now that they are all part of one film,

issues will become clear that are inter-dependent between scenes.

3. This stage of the edit can be difficult as some problems can seem unsolvable. Be sure

to keep moving.

4. Key sound effects and music may be introduced at this stage, and the complexity will

grow. Be sure to try out lots of ideas, secure in the knowledge that each version is

safely saved and may be returned to if necessary.

5. The stage when a rough cut becomes a fine cut is not exact, but is often when the

editor feels each idea has been fully explored.

6. Bring in others to watch your fine cut. Merely sitting next to someone new while

watching your film can bring out problems in the edit you have previously missed.

Pay careful attention to any questions they ask

7. . Even apparently casual queries can reveal holes in the storytelling that you and your

team have missed or unsuccessfully tried to solve.

Result:

The first cut of the short film done.

Exercise No: 7

Editing-Final Cut With effects

Objective:

To learn the Techniques of first cut for a dramatic scene.

Equipments used:

• Software; AVID • VTR • Tape

• Firewire

Development:

1. Its not finished cutting until several new viewers have seen the edit and you’ve

worked with the problems raised.

2. If there are major issues that are never quite dealt with then now is the time that you

must be bravest with the material and experiment boldly.

3. It can mean going back to rough cut stage with a scene or two.

4. Fine cutting itself is the process of getting down to perfect frame accuracy for every

single edit in the film, of making sure each moment flows as best it can.

5. Don’t bother working at this level of detail until all story issues have been

satisfactorily solved.

6. Once the fine cut is approved the picture is considered locked and no further changes

will occur.

7. The project will move into full sound post and the editor’s work is done. Back up all

the project files.

Result:

Final cut with effects is done.

Exercise No: 8

ADR/Voice over track

Aim:

To replace an existing dialogue with a new one and lip sync it with the video.

Software Used:

Cubase LE

Signal Flow:

Procedure:

1. The software Cubase LE is opened and the video file is imported into the timeline.

2. The artist is made to watch the video clip on a television and made to speak the

dialogues repeatedly in a loop.

3. The more natural and correct dialogue is taken and put in the appropriate location

along the video clip and the lip sync is done.

4. After the dialogue replacement is done the audio file is exported.

Result:

Automated Dialogue Replacement is done successfully.

Exercise No: 9

Foley/SFX track

Aim:

To add sound effects to a video clip.

Software Used:

Cubase LE

Signal Flow:

Procedure:

1. The software cubaseLE is opened and the video file is imported in to the timeline.

2. The recored samples of special effects and ambient sounds are collected.

3. The video clip is watched carefully and the sounds necessary for the environment in the clip are analysed.

4. The necessary effects tracks are brought in to the timeline and placed in the appropriate positions according to the video clip in the timeline.

5. After all the effects are added the automation for it is done according to the direction of the source of sound in the clip.

6. After adding the effects are added the effects track is saved and mixed down.

Result:

The Effects track for the video clip is done successfully.

Exercise No: 10

Re-recording/Music track

Aim:

To compose and add background music to a video clip.

Software Used:

Cubase LE

Signal Flow:

Procedure:

1. The software cubaseLE is opened and the video file is imported in to the timeline.

2. The tempo track is made and is brought in to the timeline and the tempo changes placed in the appropriate positions according to the mood of video clip in the timeline.

3. The video clip is watched carefully and the music necessary for the environment in the clip are composed.

4. Automation is done according to situation requirements..

5. The composed music for the clip is also laid on the timeline according to the mood of the clip.

6. After adding, the music tracks are saved and mixed down.

Result:

The music track for the video clip is done successfully.