{"id":239,"date":"2012-03-25T14:17:53","date_gmt":"2012-03-25T13:17:53","guid":{"rendered":"http:\/\/fgraver.wordpress.com\/2012\/03\/25\/insight-out-raw-11\/"},"modified":"2012-03-25T14:17:53","modified_gmt":"2012-03-25T13:17:53","slug":"insight-out-raw-11-2","status":"publish","type":"post","link":"https:\/\/filmschoolteacher.info\/fredsnotes\/2012\/03\/25\/insight-out-raw-11-2\/","title":{"rendered":"Insight Out raw"},"content":{"rendered":"

I attended the 2012 Insight Out<\/a> seminar at the film school in Potsdam, Germany from March 19 to 23 this year. I am dumping my “raw” notes here; they are unfiltered, unspellchecked and a little unstructured. They are useful to me – if nothing else, the act of taking notes helps me remember things – but probably not to anyone else…<\/p>\n

Day 1
\n_________________________________________
\nSession 1
\ngeneral overview of workflows and formats in digital film and home entertainment
\n– by Flying Eye – media management consultants; ie getting the techies and creatives to understand each other.
\nBackground: jan. 19th Kodak files chapter 11 bankruptcy protection.
\nFilm continues to dominate archiving, but digital acqusition taking over in production – one could say has taken over.
\nSDTV –> HDTV –> 4K (digital cinema)
\nDigital workflow allows for crossover between production and post; this is not only possible but even likely. (and desirable?)
\n– fewer steps digital – digital than film-digital
\n– DCI is still active; produces SMTE standards. last revision 26.01.2012 www.dcimovies.com
\n– DCI focusess on distribution & security
\n– DCI also gives specs for testing of distribution
\nLast 3 years have seen an almost exponential growth of digital and 3d screens compared to film-only
\nRumour that Hollywood will stop releasing 35mm in 2013. This will have a major effect on those screens that have not converted to digital –> but what about arthouse? archiving? less industrialised territories? second run? festivals?
\nIssues:
\n– projection brightness
\n– higher framerates (48fps)
\n– heigher resolution (8k+)
\n(these last two have big implications for production and post pipeline)
\n– industry still learning to handle 3d
\n– film language for 3d still under development
\nAs always, the choice of camera is chosing the right tool for the job – should not be a choice based solely on technological considerations
\nInteresting development also in DLSR; both Canon and Nikon have released new cameras this month. N D800 (better colour but more noise) and MKIII (less noise but more moire and false colour)
\nBrand new! Digital Bolex announced last week.
\nAcquisition formats
\n– resolution
\n– bit depth
\n– compression
\n– colour space
\nmm.
\nField recording: disk based, flash memory (SSD, etc.) and tape based
\nWith online storage of masters, one can move away from a “sequential” post to a collaborative one.
\n– also Cloud-based. Example, Hugo Cabaret moved 3PB data between 11 different collaborators in post. ref Pixomondo – teams all over the world working on the same production.
\nConsumer delivery: IMF – interoperable master format
\n– standard for mastering for all consumer delivery formats.
\nFrame rate: 24 vs. 25 fps –> DCI compliance requires 24 BUT the latest standards allow for 25 fps DCPs for cinematic release; but even though the standards exist, the equipment to play 25 fps is not widespread.
\n___________________________________________
\nSession 2
\nBroadcast Changes.
\nJohn Ive from IABM (http:\/\/theiabm.org\/)
\nrepresents the broadcast equipment manufacturers
\nanalogue –> digital –> IT\/IP
\n– this last element is what has actually changed workflow
\nMore delivery platforms and consumption habits are changing; leads to both creative, business and technological need to adapt.
\n– how to future-proof in a situation where change is accelerating?
\nDrivers in the consumer world
\n– live programming
\n– multichannel pay-tv
\n– recorded media – multi-format
\n– video on demand
\n70% of tablet owners use them while watching TV (UK)
\nDaily viewing hours still increasing
\nFrom tape to file – file = video + audio + metadata
\nAnalogue and digital are still linear \/ sequetial workflows –> IT\/IP changing all that
\nIT is faster than real time and paralell
\n“ingest once, use anywhere”
\nBut why are we struggling?
\n– have to unlearn ingrained workflows
\n– exponential rise in content
\n– formats!
\n– cost of investments and upgrades
\n– too many things changing at the same time
\nMetadata – provides the context necessary to make sense of data.
\n– there is no “one size fits all” as different organisatons need different metadata.
\nWorkflow
\nkey in IT-workflow becomes media asset management.
\nExisting cloud services – worth checking out to see the (possible) future of media asset management.
\nSecurity is an issue in cloud storage
\n– local laws where the servers are; which agencies can access my files?
\n– leakage and hacking?
\n_______________________________________________
\nSession 3
\nPeter Adams – editor of Anonymous
\nediting and VFX
\n– shot on Alexa
\n– communication between editing, VFX and production was key in both prep and production
\n– got technical files from the camera. DP predefined different luts that were applied to the dailies and a form of pre-grading
\n–> gave DP a chance to pre-grade, and the looks were changed along the way.\u00a0 Eliminated dailies colour grading and predefined som set-ups for the colour grading
\n– raw material recorded to hard drives, copied at the end of each day by a quality controll dept. – replaces the lab
\n– this dept. produced timed and synced dailies, already logged and organised.
\nEditor and director watched dailies at the end of each shooting day
\n– Started editing while the shoot was going on.
\n– often involved sound and vfx while cutting scenes in order to get the full effect
\nVFX and editing started working and testing together about a week before production started.
\n– technical compatibility as important as collaboration
\nGood communication also key to ensuring efficiency; avoid wasted labour
\n– back and forth collaboration allowed adjusting plans to ensure maksimum efficiency
\nBy cutting along the way, the editor had a cut ready for a (internal) screening about 2 weeks after principal photography was finished.
\n– worked another 2 weeks on a directors cut
\n– another couple of weeks, then another screening
\nEditing moved to LA, but VFX still in Germany.
\n– an assistant stayed in Babelsburg, but editor and main assistant moved.
\n– conference calls with VFX every two days.
\n– used a watch folder (dropbox) and a player called cinesync – which allows you to draw on images and the drawings are synced real time between LA and Germany
\n– moved editing to London in so the director could do ADR with the actors
\nRecreating historical London from before the fire: combination of VFX and production design – CGI and sets, set extentions, etc. This required extensive previsualisation between those two depts. – but editing was not involved in animatics, etc.
\n______________________________________________
\nSession 4
\ns3D Now! – research project
\nOn the effect of 3D on storytelling, production and sound, in addition to testing workflows
\n3 main research questions
\n– optical phenomena in 3d and their limits
\n– staffing on 3d productions
\n– sound in 3d films; how is it different from 2d
\nProject entails a short film, a behind the scenes doc and a book
\nSound for 3D – there is no litterature right now
\n– how does 3D effect set sound and post sound?
\nsome challenges
\n– clocking with many devices
\n– stereographers equipment is noisy
\n– same is true of data wrangler
\nShooting
\n– more wide shots, longer shots, fewer ots. –> difficult to get mics close
\nPost
\n– need 3d image for sound post in order to miks to the correct space
\n– increased detail level in sound design
\n– new approaches for surround channels since the audience is inside the space and sound must reinforce this
\n– may need different playback systems – eg. 7.1
\nSound concept
\n– must remember the room \/ space is a stylistic device ie. a storytelling device
\n– directors must learn to include more departments
\nMORE PREP.
\n3D Alliance Karlsruhe
\ninvestigating storytelling in 3D
\nforms alliances between art and science (esp. mathematics)
\nBeyond – 3d filmfestival
\n* 3D symposium 22-24 june. *
\nWorking towards directing attention from technical aspects to creative aspects
\nbig challenges: no standards and lack of educated people.
\n3D requires a new dramaturgy; one that uses space actively
\n– both in terms of staging and emotionally
\nRequires new rhythms in editing
\n“in 3d, the post people become painters”
\n___________________________________________________
\nDAY 2
\nSession 1: The Law of the Internet with Prof. Jan Bernd Nordemann
\nIntellectual Property rights: remember everyone who has had creative input in the film — editor, cinematographer, actors, composers, etc. — owns the intellectual property rights to their work. The Producer needs to remember to acquire all these rights for distribution.
\n– in particular internet and “all unknown media” rights
\n– need explicit agreements for “non film use” –> for example merchandising, books, etc.; also prequels, sequels, remakes, etc.
\nOld programmes – anything before 1995 – are problematic for internet distribution
\n– especially from before 1965
\nWhy? Before 1965 no mention of unknown media in contracts. –> rights remained with the creator\/author
\nIn 2008 German law granted distribution rights to producers for content created 1966-late 70s for what were “unknown media” in that time period. ie. video, internet.
\n– The authors can make a separate remuneration claim to a governing body.
\nIn US the situation is different under “work for hire” provisions –> producers retain more distribution rights
\nIn the case of full funding by a broadcaster, the internet and unknown media distribution rights may be with the broadcaster. At the very least, the broadcaster retains the “7-day catch up” distribution.
\n– VOD a separate issue.
\nNo one “right” on the net. Many different forms and rights of distribution on the net.
\n– EST – electronic sell through (purchase)
\n– VOD – on demand viewing by time-limited download, but not sale.
\n– Streaming – on demand viewing, but no downloaded copy for viewing
\nRemuneration
\n– free
\n– free with advertising
\n– pay-per-view
\n– subscription
\n– etc., etc.
\nGeographically limitet rights – based on geolocation of IPs
\n– there is a question about the EU; must rights be whole EU or can there be rights specified for individual states
\nMusic rights are the most complicated thing, in part because of national composers & musicians rights organisations. In some cases, rights must be negotiated with individual performers and composers –> this is a major hurdle for film distribution.
\nAnother aspect: live streaming of TV.
\nCreative Commons. Has become part of the copyright system, but is free of remuneration. –> since it is noncommercial there is a limit on the kinds of content that will be CC licensed.
\nPlatforms have to adhere to national laws for all territories in which they are available.
\n– example: youth protection (age limits) could determine at what time you can stream certain content in certain territories
\nPiracy. Still unresolved. Copyright vs. individual freedom.
\n_________________________________________
\nSession 2: Production Designer Sebastian Krawinkel about Anonymous
\nEvery scene in Anonymous was designed, and built either physically or digitally.
\nUsed a modular system – elements that could be moved and reused in different ways.
\nOriginal idea was to shoot plates in England, and use them in CGI. In actual fact only one plate was used.
\nMade models which were shot, then manipulated in VFX to create London
\nArt dept. researched and built large parts of 16th century London – Art. dept. made many 3D models, then handed these to VFX for completion.
\nKrawinkel had 12 weeks prep for research.
\nBased sets and 3d designs on contemporary paitings of London. Houses based on existing houses that survive from that era.
\nExtensive previs, both 2d and 3d
\nClose working relationship between Art Dept. and VFX in prep.; sharing of concepts and files; planning of physical and digital elements
\nIn the interiors, modules were built and reused in many sets; simply fleshed out with some unique elements in order to distract the eye from the reuse of elements,
\nPrimary interior lighting from candles; used “candle wranglers” and special 3-wicked candles. (Chose to shoot Alexa because the candlelight caused noise in in the footage from the Red camera that was tested)
\nIn certain situations, the modular sets were combined with CGI and digital sets
\nUsed 5 different sets, so that while one was being filmed, the other 5 were in various states of preparation.
\nModular system works when architecture is geometrical, the director is very visual and can see possibilities, and the AD can make a schedule that works.
\n__________________________________________________
\nSession 3 – 3D storytelling and workflow planning
\nPart 1 with Ludger Pfanz
\n3d has a history all the way back to Lumiere and Meliers
\nDigital 3d allows perfect sync in projection
\nTheses
\n– 3d starts with the script
\n– from “frame” to “stage”
\n– space has meaning
\n– depth dramaturgy
\nHow to organise space for 3D
\n– Topos: space –> space has potential and dynamism
\n“What is not in the script cannot be staged” – scriptwriters need to learn to write for 3d space.
\n– for example, in Coraline the day world is flat, while the night world has a lot of depth
\nCan layer an image to have more going on different levels –> mise en scene
\nAlex Weimer & co. – “Lost Place” a case study in 3D filmmaking
\nMystery thriller, based on real backstory of US cold war experiments.
\nHow to make the 3D count?
\nThings that lend themselves to 3d
\n– ensemble cast
\n– limited number of locations, which are explored by the characters
\nDepth chart: an analysis of the script to decide which scenes need more or less depth, where parallax is in front or behind the screen
\nCan increase Vertigo-effect by increasing inter-axial distance between cameras (for example) –> puts a strain on the viewer
\nProduction considerations
\n– stereo rigs can weigh in excess of 40 kgs.
\n– changing rigs can take several hours of calibration
\n– stereographer becomes a key crew member; important to give them the time and space to work
\n– special rig for steadicam – down to approx. 25 kgs.
\n– stereoscopic mirror rig eats about 1 stop
\nEditors observations.
\nkept each eye separate – even on separate hard drives
\nUsed Avid media composer 6 – latest version has 3d capability; allows linking two picture and one sound clip to create a stereoscopic clip.
\nWhat about pacing? – the pace of the editing and choice of footage to use determined by the action and shots exactly as with 2d
\nCut in 2d, then view sequence in 3d.
\nSome differences
\n– backgrounds are a bigger distraction in 3d – even if out of fokus. Need to be aware of this
\n– tracking shots can, if necessary, be held longer in 3d.
\n– lens flare and reflection is a bigger problem in 3d.
\nVFX and post production; on set data wrangling
\n– data integrity key; backups and more backups.
\n– DIT followed file naming convention agreed upon in prep.
\nVFX did on-set check and screenings of footage; used After Effects since the editing workflow had not yet been established
\nInvolved in prep in order to avoid overwork in post \ud83d\ude09
\ngathered textures, etc. on location
\nbuilt websites, graphics, phone apps, etc. etc. in advance so they were filmed “live” during production – again to avoid work in post.
\nHave not yet decided on software package, but considering Fusion rather than Nuke.
\nBig challenge creating effects that also have to have depth.
\n_______________________________________________
\nDAY 3
\nSession 1 – Case Study ARTE – broadcast workflow in the transition from tape to file
\nARTE is a grouping of public television networks; French and German cooperation, started in 1992
\nHead office in Strasbourg
\nTapeless: started with SD tapeless in 2001; went live in 2005
\nIntroduced HD in 2008
\nAPIOS: database for managing broadcast assets; uses metadata to automate programming, archiving, etc.
\n– also manages audience number, etc.
\n– this system is available for all now, can also be used for archiving, vod, etc.
\nHD-tapeless: decision to go tapeless made in 2008
\nBCE won the contract to effect the changeover to tapeless
\nAPIOS is based on Oracle and on Windows-only.
\nGoing tapeless has much simplified by removing steps, need for synchronisations
\n(MAM = media asset management: key feature of tapeless system)
\nIn a changeover like this, change management — training & listening — are key
\nTo any such system, metadata is key –> it is crucial that this is entered and managed correctly.
\n_________________________________________
\nDAY 4<\/p>\n

Session 1: Case study Melancholia: Pan-european co-production with Peter Hjorth
\ncheck http:\/\/www.gearless\/MEL%20VFX%20featurette%201stcut.mov<\/p>\n

NB: Peter works exactly the way we want to teach Digital Visual Design.
\nMelancholia had collaborators from Denmark, Sweden and Germany on the post production effects.
\nPeter worked as a “VFX Director” – closely with Director, DoP and PD throughout the production cycle
\nPartners in VFX included:
\n– Pixomondo in Germany
\n– Film Gate from Sweden
\nPeter and his VFX producer Karen were hired at the script stage
\n– made some models, working with the scientists who provided a large amount of the background reseach for the film.
\n– first VFX breakdown and budget already two months before preproduction started; worked closely with the films producer to find a solution that works with the total budget<\/p>\n

Storyboard
\n– Peter worked with Lars, DP, PD and 1st AD
\n– final film very close to storyboard
\nDeveloped the colour and look of the Planet Melancholia; worked with Gaffer and DP so they could find a gel they used to give the effect of the light from Mel. shining through windows, etc.
\nPredefining what is needed; working with production to ensure what is needed is filmed.
\nKaren did cost estimates to see what is best done on set, what is best done in post.
\nThe general trade-off is big, wide shots better as post VFX, while smaller, closer shots better as on-set SFX
\nInvolved in planning 2nd unit shooting – ended up saving time and money
\nMade a production plan for FX shots<\/p>\n

Financing
\nbreakdown based on final script
\ngave all studios same breakdown, storyboards in order to get best possible bids.
\nshots were cut all the way until the end in order to make the budget work, or in some cases redistribute resources
\nEconomy not the only factor in chosing post studios
\n– artistic style and visual understanding
\n– experience and capacity
\n– key competences
\n– personal contact
\n– location (travel time for Peter and Karen) –> this was a factor in chosing German Pixomondo over a Canadian competitor.
\nTight schedule: shooting finished in September; film had to be ready for pre-Cannes screening in March
\nBudget har to consider shooting costs, personnel, construction, post hardware, travel, file transfers, etc. etc.
\n4-country co-production; there are national demands for where budget is spent – VFX also has to help by spending in those regions… (plus a large list of other investors)
\n— Worth noting that Film i V\u00e4st (G\u00f6teborg & Trollh\u00e4ttan) is a major booster of filming and post in that region —<\/p>\n

The Shoot
\nPeter on set all days when vfx-shots planned
\nInput in how actors responded to the Melancholia planet in the sky
\nparticipated in shooting reference elements, plates, inserts, spinter unit with sfx and art dept. (most high speed); 2nd unit of varying sizes (inkl. model shoot), special elements (in this case, Northern Lights on Iceland), pickups (greenscreen)<\/p>\n

Editing
\nImportant to keep track of the shots used, that the vfx plan is still being followed; see if new shots come up, etc. –> important to follow up that the total VFX shots stays within the budget.
\nPeter takes job of VFX-editior: does rough versions of vfx shots once there is a “real” cut of the film available
\nMake vfx-demos for the post studios involved, allow them to start sketching their versions while waiting for the final version of the picture
\nPost studios provided temp versions for screenings<\/p>\n

VFX
\nOnline of film to vfx studios
\nbriefings and presentation of shorts
\nVFX production schedule finalised
\nmaintain communication and make visits, viewings — this is key to ensure what is delivered is what was wanted.
\nVFS shots to foley, sound editing, music
\nCoordination important, to ensure everyone knows who does what, when, and also movement of files, scheduling of approvals and viewings, etc.
\nImportant also to coordinate with Producer to fit promo and trailer production into the schedule; they can really destroy a post schedule otherwise.
\nPeter works much like a director with the vfx-providers; is the creative leader of the team and needs to get the most out of the different artists.
\n– tools like Skype and Cinesync are useful, but there is no substitute for sitting and speaking in the same room.
\nworked with ftp –> still the easiest way to distribute files.<\/p>\n

Grading
\nPeter supervises the delivery of every vfx-shot; also attends final grading
\ninvolved in creation of LUTs for dailies; ensure all vfx shots work with the LUTs
\nGrading requires delivery of alpha layers; mistakes in grading can ruin the effect of compositing!
\nThings like stars can cause major problems in downconversion for release formats — all these versions must also be checked.<\/p>\n

This case shows how important it is for the FILM that the VFX director is involved from script to delivery.<\/p>\n

Q&A
\nAlexa – shot 10-bit log with on-board compression codec.
\n______________________________________________
\nDAY 5<\/p>\n

Session 1: Visual effects photography and 3D with Mark Weingartner
\nVisual effects and CGI are not the same thing: not all vfx are CG, although they may have CG elements.
\n– many elements, plates, miniatures, etc. are shot, then manipulated, composited in post.
\nUseful book: VES Handbook of visual effects
\nThings like Vistavision still used for f\/x
\nFor 3d models – use lidar scans instead of photos for plates.<\/p>\n

Session 2: “101 It’s Easy” –> new company helping production companies make transition to file-based
\nProtection of media is key
\nDigital allows sharing and collaboration to a much greater extent; this increases complication
\nCloud-based file management is key to collaboration and sharing; producers need a system that can be secure but flexible.<\/p>\n

Session 3: Dolby PRM-3200 reference monitor
\nJohn Bleau
\nNew monitor a response to the lack of a proper display in post after CRT discontinued.
\n– main problem is there is no longer a universal reference standard
\n– LCD and plasma have severe colour and black\/contrast limitations.
\n– OLED and plasma have a short life
\n– DLP best colour, but poor contrast, poor blacks
\nDolby monitor 40000:1 contrast, 12-bit colour. Can handle raw output from Alexa, for example.
\n$40,000 –
\nCalibration probe is another $30,000…<\/p>\n

Session 4: Digital Gremlins! with DP Keith Partridge (films extreme locations, etc.)
\nor… the many deaths of digital footage…
\nOne way to kill a camera…–> drowning
\nCameras don’t like water! Adventure cinematography can get wet…
\nOther ways –> dropping and freezing.
\nLogistics of the shoot determine choice of equipment
\nWhen one is in a remote location it’s crucial to use things one is familiar with –> if something goes wrong you can quickly fix it \/ find a solution<\/p>\n

Session 5: Pixomondo and Hugo Cabaret
\nshot on Alexas with a 3d beamsplitter rig.
\nextensive metadata recorded
\nNuke for compositing
\nVFX involved in setting up the LUTs
\nOne pitfall of 3d: stereo artifacts
\n– 2-stage removal process: automatic tools followed by manual cleanup
\n– not all stereo artifacts are in camera; some are real-world etc. occlusions and reflections –> in both cases they are visible to one eye and not the other; creates an annoying effect and need to be dealt with.
\nTools used included both rotoscoping and CGI
\nin this case: vfx was not involved in chosing shooting format.<\/p>\n

Session 6: Summary
\nSD and tape (with the exception of HDCamSR?) are gone from post; soon from production?
\nCodec chaos…
\nFilm?
\nIn broadcast today, 1080i50 is the format — but not the format of the future.
\nHow many pixels are enough?
\nChosing a camera today is becoming as much a creative choice – much as chosing a film stock (Kodak vs. Fuji) was before
\nNext technological advancement on display side is autostereoscopic (no glasses) –> holoscopic interesting but still a ways off
\nStereoscopic 3D is here to stay, but needs to be driven by story, not money!
\nFilebased –> leads to demands on coordination, integration and compatibility in order to allow effective creative sharing.
\n– key question is how to make the technology\/infrastructure invisible so the creatives can get on with their work!
\nArchiving: digitise tapes or lose them. Film is still supreme on the theatrical side, but what will replace it? Very important to resolve this.
\nIn broadcast, adminstrative and production worlds are moving closer – driven in part by consolidation of databases. How close should they get?<\/p><\/blockquote>\n

As an aside, this was the first time I used my iPad 2 as my primary computing device for an extended period.\u00a0 The laptop stayed in the hotel room while I wrote, checked mail, etc. on the iPad with my Logitech fold-up keyboard<\/a> (Norwegian link). The battery lasted all day without trouble (used about 10% per hour when in use constantly – just as advertised).<\/p>\n","protected":false},"excerpt":{"rendered":"

I attended the 2012 Insight Out seminar at the film school in Potsdam, Germany from March 19 to 23 this year. I am dumping my “raw” notes here; they are unfiltered, unspellchecked and a little unstructured. They are useful to me – if nothing else, the act of taking notes helps me remember things – … Continue reading “Insight Out raw”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_hide_featured_image":false,"_jetpack_featured_image_duplicate_dismissed":0,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[24,1],"tags":[38,40,43,47,48,55,79],"class_list":["post-239","post","type-post","status-publish","format-standard","hentry","category-film-school-pedagogy","category-miscellaneous","tag-copyright","tag-digital-distribusjon","tag-digital-production","tag-film","tag-filmmaking","tag-ipad","tag-stereoscopic-production"],"jetpack_likes_enabled":true,"jetpack-related-posts":[],"jetpack_sharing_enabled":true,"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/filmschoolteacher.info\/fredsnotes\/wp-json\/wp\/v2\/posts\/239","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/filmschoolteacher.info\/fredsnotes\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/filmschoolteacher.info\/fredsnotes\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/filmschoolteacher.info\/fredsnotes\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/filmschoolteacher.info\/fredsnotes\/wp-json\/wp\/v2\/comments?post=239"}],"version-history":[{"count":0,"href":"https:\/\/filmschoolteacher.info\/fredsnotes\/wp-json\/wp\/v2\/posts\/239\/revisions"}],"wp:attachment":[{"href":"https:\/\/filmschoolteacher.info\/fredsnotes\/wp-json\/wp\/v2\/media?parent=239"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/filmschoolteacher.info\/fredsnotes\/wp-json\/wp\/v2\/categories?post=239"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/filmschoolteacher.info\/fredsnotes\/wp-json\/wp\/v2\/tags?post=239"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}