post-production

The name given to the finishing process of broadcast programmes. Usually refers to digital video editing, film editing, special effects, titling, and post-compositing. A post-production house is a company or place where this happens.

Here’s a brief look at the stages of post-production and the facilities required.

0 – “digitizing takes” Processed footage, or rushes, from a film is taken to a lab as it comes in to be processed and turned into a roll of negative.

The negatives are then transferred onto video tapes in a process known as telecine.

They are then converted into digital video films so that editing may take place.

The documentation of all work is extremely important. They may be conserved in film state or kept as a digital archive.

Definition: RUSHES - Work print, from the material when it is back from the Lab. Called rushes because of the urgency to see that everything came out ok. Can be called Dailies.

1 – “editing” The editor assembles the rushes into scenes, thus creating a narrative sequence.

NB: editors work in editing suites

The fine cut at the end of this process is then known as "picture-lock.'

2 – “compositing” Digital effects are added by specialist while effects compositors and titles and credits are added in a compositing suite

Examples of personnel include:

3 – “colouring” The final picture is then edited for fine aesthetics. At this stage a telecine operator, more commonly known as the colourist adjusts the colour and grade of the footage

4 – “sound engineering” The rough sound mix then goes to a dubbing theatre

-sound mixer/engineer/audio designer work in control rooms with visual access to sound recording studios or booths allowing for visual synchronization with the picture.

Separate mixes are created for dialogue, sound and music.

They are combined at different levels to make the final mix.

Note that six channels are to achieve cinematic Dolby enabled rotor sound while two channels are used in the “broadcast mix” ex. for radio/TV.

5 – “reproduction” The final cut, as opposed to the director’s cut is a film industry necessary evil since various stakeholders are allowed to have a say on what will be issued as the final product. There will exist a master print from which all duplicates are made. The production is then in full lock, therefore, no further adjustments will be made to any aspect of the motion picture.

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References

http://www.atlanticvideo.com and http://www.skillset.org/film/