Conversations between cinematographers and crew about Post Production

16mm Black & White Thru TK

16mm DI To 35mm

16mmGreenScreen

1K, 2K, 4K, 10,000K

24 Frame Project Problem In Avid

2K transfer on a Spirit

2k 4:4:4 Spec Check

3D Moving Stills

30fps Compositing

4*3 or 16*9 for TV

Anamorphic Lens For Projection

AJA DSI To Firewire Box

Bleach Bypass/ENR

Blue Fog Waves

Blue/Green Screen

Blue/Green Test Shots

Charging For Post Supervision

Colour Timing a 16mm film

Combining Film & F900

Compositing 101

Contact vs Optical Intermediates

Continuing With Preset Timecode

Cross processing

Cross Processing Neg.

Damaged 16mm Film

Day For Night & The Digital Intermediate

Dealing With Unintentional Over-exposure In Telecine

Defining 2K and 4K

Defining 6K Film Stocks

Digital Post V Cine Art/Craft

Digital Film Grade

Digital Image Stabilization

Digital Intermediates

DIT or Colourist

DoP Relationship To Film & Digital Intermediate

Downconverting Delay *(Miranda DVC- 800)

EDP100 or Decklink Multibridge Express

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