Is there a future in film and television post-production? Which film and television production training school is the best?

If you don’t understand it, you don’t have the right to comment

Sorry, I didn’t study there, so I don’t dare to comment. If you don’t understand it, you don’t have the right to judge. I don’t like it very much. Some people on the Internet don’t understand anything and just draw random conclusions. This is irresponsible to others.

2. How to go from a rookie to a master of film and television post-production

Becoming a master of post-production is the dream of every one of us who is engaged in the post-production industry of film and television, but many people have this idea but fail to I suffer from the fact that I am a rookie, know nothing, or know only a little, and don’t know if I can sustain myself in this industry. Most of the time, I am immersed in low self-esteem and bear the burden of a rookie. In fact, what happened to the rookie? Who has not left the profession? Coming here, everything has to be a process, so we have to be patient when doing things. Instead of trying to fish in the abyss, it is better to retreat and build a net, so we should do our own things in a down-to-earth manner. The rest is just a matter of time. If you want to become a master from a rookie, then you must learn from the masters, so that you can make progress in a short period of time. If you want to learn, you can come to our group. The first set of numbers is 521, and the second set of numbers is 521. The first set of numbers is 496, and the third set of numbers is 564. Connect these three sets of numbers in order, and you can find us. We only need people with dreams and ambitions here. Otherwise, don't come, we won't welcome you.

3. Experience and skills in film and television post-production

1. Flash white:

When compositing a program, if you do not directly use white frames to superimpose, but add white frames to the original material. Increase the gamma and brightness to make a simple animation, and then dissolve it, so that the bright parts of the picture first appear white, and then the entire picture becomes white. It feels like an optical change, not monotonous, and it's better to keep something vaguely visible even at the whitest, which is to say not a solid white monochrome.

2. Cut:

When compositing, use 1-2 frames of blending instead of pure cutting, and the transition will be smoother.

3. Picture color:

Try to avoid pure black and pure white in the picture. Even if it is black, use very dark red, blue, etc. instead, which will make the The overall color is more coordinated, and the specific tone is determined by the overall tone.

If you feel that the film is not bright or dark enough, try to avoid absolute methods of overall brightening or darkening, and instead use relative methods such as increasing the area and proportion of bright areas. Using curve tools makes it easier to control local adjustments on the screen.

For the texture of metallic luster, the main principle is that "gold is not afraid of black", which means that the production of metallic texture must have dark parts. Try to use moving lights to create a flowing highlight effect instead of reflection maps. Use negative lights to create shadows.

4. Composition:

Except for serious, authoritative, power and other expression occasions, try to use asymmetrical composition, try to consider the composition from the perspective of editing and connection, and don’t be too obsessed with a single image. Picture composition, with the aspect ratio of TV, the composition of a single shot is very difficult. When composing a picture, we usually consider not only the part shown on the TV, but also a dynamic three-dimensional composition that changes in time and space. .

5. Sound and picture:

For environmental sound, it does not have to strictly correspond to the picture editing. Generally speaking, the environmental sound enters first and exits last.

It feels better to stagger 1-2 frames according to the waveform diagram and the cut point of the picture. Use your eyes and ears to feel it. Don't be too obsessed with the consistency of the waveform diagram and the cut point. Sometimes it is necessary to consider that the corresponding ambient sound when the sound is transmitted to your machine may be slightly delayed compared to the "environmental scene" (recorded into the machine). For the live recording and post-production of some large scenes, we must pay attention to In this regard, after all, the speed of light is very different from the speed of sound.

6. Normal picture color:

The normal picture color on the TV is often too saturated on the computer. One of the characteristics of the TV is that the brightness will increase and the saturation will increase. The intensity will decrease, but overly saturated colors are easy to look boring. One way to solve this problem is to pay attention to the transition of color levels, and don’t just focus on the color blocks.

7. Color adjustment:

First remove the color and only look at the grayscale image to adjust the correct transition and light and dark levels to avoid over-adjustment.

Then adjust the color of the color block first, that is, the part with the most color contrast. For example, cool colors are used in the distance and warm colors are used nearby, which is the color design process.

Control the color transition so that the transition is not monotonous. The color curve tool has more adjustment controls than linear transition.

Image quality comes first. Adjustment of color should not obviously lead to a decrease in image quality. Otherwise, it is better not to adjust it, or to make slight adjustments.

8. Light effect:

Usually, overly blurred and stiff light effects are not very good, while hard, fast changing or always changing light effects are better. Try to create the most reasonable light effects yourself, for example, use PS to draw a few layers, and then adjust them during synthesis. Although the light effects of directly using software plug-ins are simple and practical, they are often not suitable for specific problems.

Do not abuse light effects and avoid using them for a long time. Control the level of light effects. Even for the simplest glow effect, create 2-3 layers with deviations in brightness and color and adjust them separately, and the effect will be better.

9. Animation:

Avoid excessive regularity and coordination, arrange the rhythm of animation, and break the rhythm appropriately. A smooth picture will lack impact.

10. Learn to fake things to break some regularity:

For shots that don’t change much, you can use a circle mask to control the adjustment range. This is similar to painting on the screen. . Sometimes there may be some small flaws, but when it moves, or it feels good in the entire film, you need to make a choice on this point, and you don't have to focus on just one shot.

11. Combine the front and rear shots to preview:

This is no problem in software such as flint or cyborg, but it is really troublesome in some software. In short, you cannot adjust it through one lens alone, you must grasp the overall feeling.

12. Learn more and learn more:

Learn more and learn more about excellent expressions, animations and color schemes.

Add your own understanding. Don’t just plagiarize. It should be improved and sublimated through learning and reference.

13. Consider the authenticity of synthesis:

Reality is divided into three ways: physical reality, visual reality and psychological reality.

Psychological reality usually refers to when synthesizing some shots that we have no visual experience, such as explosions in space. Real space explosions are likely to be different from those we see in movies. For this kind of thing, we have no experience. Scenes of real experience emphasize psychological reality first.

Find the appropriate reference visual experience. Often 70% of the picture is realistic enough to satisfy the audience, and the other 30% can be considered for visual effects regardless of whether it is real or not.

Specifically, in the synthesis that requires realism, we usually consider: close saturation, similar dark color, and consistent light source position. The saturation in the same picture is usually relatively consistent. There will be no particularly gorgeous scenery in a gray environment. However, it should be noted that the saturation is often not completely consistent. Sometimes the inconsistency in saturation is used to create a sense of distance. Dark parts Color is not affected by ambient light without direct illumination. No matter what the texture is in the same environment, it will definitely be close as long as the distance is within a certain range. Everyone must understand the principle of light source position.

Of course perspective must also look accurate. Generally speaking, 70% is enough. If it is 100%, then it will be a blockbuster movie instead of creation or advertising. The other 30% can be left to The expression of picture effect.

14. Pay attention to the collection of texts, pictures, music and other materials as well as excellent works: visit more new and better synthetic learning materials at home and abroad. Learn more and recharge more.

15. Cutting with strong rhythm:

Chopping, placing 2-3 partial scenes or strong color casts between 2 segments or fast white flashing materials. , the length of each paragraph is generally no more than 2 frames, and it can be related or unrelated. It will form a strong rhythm and impact.

16. Cause-and-effect editing method:

In some commercials where time is tight but cannot be omitted, sometimes the cause-and-effect editing method is used regardless of whether the action is continuous. Maybe one shot has a starting trend, and the next shot is already out the door.

17. Manual adjustment:

To obtain more control and better effects, it is probably impossible to expect automatic generation by simply clicking the mouse. Relying on excellent technology and Only with rich thinking can we achieve better and distinctive effects.

18. Keying:

The most important thing about keying is to combine multiple adjustment methods based on the original material to maximize the difference.

19. Ink effect:

The part where the ink is blurred is not just a blur part. Often adding a little gamma to destroy the linear transition will have a better effect. The dry or realistic parts show a descending parabola transformation, while the freehand parts generally show a rising parabola transformation.

20. Color grading:

Don’t trust any display or monitor, no matter how expensive they are. It is best to create a standard pal color card on your system and compare it.

21. Color selection:

When you cannot choose a certain color, you can render an animation through masking, and then select the one with the best color.

22. TV display range and safety frame:

The display range of each TV is different, so the safety frame can only be used as a reference during photography and post-production. .

The left and right safety frames are less secure than the upper and lower safety frames. Some 16:9 TVs can completely see things outside the left and right safety frames. After the emergence of flat-screen TVs, titile?safe basically only has composition. meaning.

23. Use yellow with caution:

In the title color, use yellow with caution. If it is not accurate, it can easily look earthy and dirty. Unfortunately, each TV is somewhat different. . Therefore, add a little red to yellow in warm colors and use orange instead.

24. Color and depth of field:

It is very easy to over-adjust color and depth of field, causing the film to be strongly biased towards a certain tone or the depth of field levels to be too distinct, which may seem good-looking at a glance. I can't stand it after watching it a few times.

Visual vision is easily fatigued, so it is recommended that the film should be checked again at least every other day. Often when you think it is OK, you can adjust the parameters back a little, which is good.

25. Adjust your mentality and actively accumulate:

Mature films should have no obvious shortcomings. In the learning stage of post-synthesis, there are often shortcomings of one kind or another, so you should learn more experience and accumulate more.

26. Respect customers:

Customers know the products best and know best how to sell their products, because they have done more or less basic research work. As a production staff, we will be better than them as soon as we hit our heads.

Therefore, you should respect the opinions of customers in terms of product promotion points and impressing the target group with purchasing power. However, you can stick to your own opinions on pictures and artistry. If they are better than you in this aspect, why should they come to you? Make a film.

27. Stimulate creative inspiration:

Good creativity and artistic expression can enhance the appreciation and attract the audience's visual senses.

28. Good at communication:

Communication can keep one's knowledge updated, and one can discover one's own shortcomings from other people's successful experiences and failure lessons, which is very helpful for quickly improving the production level. Big help.

Perhaps a problem that I have been pondering for many days and cannot solve will suddenly become clear after someone else's words of advice.

29. Pay attention to collection and recording:

If you have good creativity and ideas, you must have a good habit of recording, pay attention to the collection of materials, and provide good reference for creation.