My latest book, “Fix It In Post” is available for pre-order now on Amazon.

Thanks to everyone who let me pick their brains over the course of the last few months.

The blurb:

“Finally!  A well-written software agnostic guide to fixing common problems in post ranging from shaky camera to film look!”

—Jerry Hofmann, Apple Certified Trainer; FCP Forum Leader, Creative Cow; Owner, JLH Productions

Fix It In Post provides an array of concise solutions to the wide variety of problems encountered in the post process. With an application-agnostic approach, it gives proven, step-by-step methods to solving the most frequent postproduction problems. Also included is access to a free companion website, featuring application-specific resolutions to the problems presented, with fixes for working in Apple’s Final Cut Studio suite, Avid’s Media Composer, Adobe Premiere Pro, as well as other applications.

Solutions are provided for common audio, video, digital, editorial, color, timing and compositing problems, such as, but not limited to:
* automated dialogue recording, adjusting sync, and creating surround sound
* turning SD into HD (and vice-versa) and restoration of damaged film and video
* removing duplicate frames, reducing noise, and anti-aliasing
* maintaining continuity, creating customized transitions, and troubleshooting timecodes
* removing vignettes, color casts, and lens flare
* speeding shots up, slowing shots down, and getting great-looking timelapse shots
* turning day into night, replacing skies and logos and changing camera motion

Fix It in Post: Solutions for Postproduction Problems

Some people have requested a copy of the slides used for the Red camera post workflow I was involved in, so I’ve made a PDF version available for download.

Get it here…

Photographic Tone Reproduction for Digital Images

Erik Reinhard, Mike Stark, Peter Shirley and Jim Ferwerda

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Evaluates methods for mappng photographic tones efficiently to digital images

The range of light we experience in the real world is vast, spanning approximately ten orders of absolute range from star-lit scenes to sun-lit snow, and over four orders of dynamic range from shadows to highlights in a single scene. However, the range of light we can reproduce on our print and screen display devices spans at best about two orders of absolute dynamic range. This discrepancy leads to the tone reproduction problem: how should we map
measured/simulated scene luminances to display luminances and produce a satisfactory image?

Overcoming Gamut and Dynamic Range Limitations in Digital Images

Gregory Ward Larson

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Covers several methods for encoding images in a colour-space-independent format.

We have presented a new method for encoding high dynamic range digital images using log luminance and
uv chromaticity to capture the entire visible range of color and brightness. The proposed format requires little
additional storage per pixel, while providing significant benefits to suppliers, caretakers and consumers of digital imagery.

A Real Time High Dynamic Range Light Probe

Jamie Waese and Paul Debevec
SIGGRAPH 2001 Technical Sketch

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Discusses methods for the creation of HDR images for use in image-based lighting applications, using muliple exposures.

One solution for creating a real time high dynamic range light probe is to develop a system in which multiple exposures of the same image can be captured within a single video frame. We did this by modifying a five point Multi-Image Filter (a faceted lens that is commonly used to create photographic kaleidoscope effects), and applying successively increasing values of neutral density gel to four of the five facets of the filter (3⅓, 6⅔, 10 and 13⅓ stops).