Telecine is the process of transferring motion picture film into video and is performed in a color suite. The term is also used to refer to the equipment used in the post-production process.Telecine enables a motion picture, captured originally on film stock, to be viewed with standard video equipment, such as television sets, video cassette recorders (VCR) or computers. This allows film producers, television producers and film distributors working in the film industry to release their products on video and allows producers to use video production equipment to complete their filmmaking projects. Within the film industry, it is also referred to as a TK, as TC is already used to designate time code.
Visual effects (commonly shortened to Visual F/X or VFX) are the various processes by which imagery is created and/or manipulated outside the context of a live action shoot. Visual effects involve the integration of live-action footage and generated imagery to create environments which look realistic, but would be dangerous, costly, or simply impossible to capture on film. Visual effects using computer generated imagery (so recently become accessible to the Independent filmmaker with the introduction of affordable animation and compositing software.
Motion graphics are graphics that use video footage and/or animation technology to create the illusion of motion or rotation, graphics are usually combined with audio for use in multimedia projects. Motion graphics are usually displayed via electronic media technology, but may be displayed via manual powered technology as well. The term is useful for distinguishing still graphics from graphics with a transforming appearance over time without over-specifying the form.
Reverse telecine is crucial when acquiring film material into a digital non-linear editing system such as Lightworks, Sony Vegas Pro, Avid, or Final Cut Pro, since these machines produce negative cut lists which refer to specific frames in the original film material. When video from a telecine is ingested into these systems, the operator usually has available a “telecine trace,” in the form of a text file, which gives the correspondence between the video material and film original. Alternatively, the video transfer may include telecine sequence markers “burned in” to the video image along with other identifying information such as time code.
Digital Intermediate (DI)
Digital intermediate (typically abbreviated to DI) is a motion picture finishing process which classically involves digitizing a motion picture and manipulating the color and other image characteristics. It often replaces or augments the photochemical timing process and is usually the final creative adjustment to a movie before distribution in theaters. It is distinguished from the telecine process in which film is scanned and color is manipulated early in the process to facilitate editing. However the lines between telecine and DI are continually blurred and are often executed on the same hardware by colorists of the same background. These two steps are typically part of the overall color management process in a motion picture at different points in time. A digital intermediate is also customarily done at higher resolution and with greater color fidelity than telecine transfers.
After conforming the project, the online editor will add visual effects, lower third titles, and apply color correction. This process is typically supervised by the client(s). The editor will also ensure that the program meets the technical delivery broadcast safe specs of the broadcaster, ensuring proper video levels, aspect ratio, and blanking width.
Offline editing is part of the post-production process of filmmaking and television production in which raw footage is copied and edited, without affecting the camera original film stock or video tape. Once the project has been completely offline edited, the original media will be assembled in the online editing stage.
The term offline originated in the computing and telecommunications industries, meaning “not under the direct control of another device” (automation).
Modern offline video editing is conducted in a non-linear editing (NLE) suite. The digital revolution has made the offline editing workflow process immeasurably quicker, as practitioners moved from time-consuming (video tape to tape) linear video editing online editing suites, to computer hardware and video editing software such as Adobe Premiere, Final Cut Pro, Avid, Sony Vegas and Light works. Typically, all the original footage (often tens or hundreds of hours) is digitized into the suite at a low resolution. The editor and director are then free to work with all the options to create the final cut.
Trailer House is a creative hub for film promos and trailers. It is like stepping into the arena of seconds and walking to the call of flashes, cuts and transitions.
Condensing a story to polished, appealing segments and teasing the audience with enticing visuals is an art; and we have mastered it. We create promos and trailers that maximize attention grab with conceptualized perspective while skirting the perimeter of spectacles.