digital intermediate
after the edit, comes an intermediate stage before the final print of the film is made. conventionally this intermediate stage was done manually and optically .
thus, as peter plantec concludes in his recent digital eye column, the genesis offers a do or digital original .
it may be time for digital intermediates to have a name change. initially coined to describe a digital approach to a film process (i. e. , the digital intermediate between film scanning and film print recording), it has arguably come to mean something different today .
to give you a feeling of what a digital gem looks like, it’s somebody who shops a lot online, understands the tools and platforms of the digital space, is active on social media, understands digital business models and above all, they think digital first. digital laggards are the ones who don’t .
the basic definition first. di stands for digital intermediate. it is a process, not an art or a science. its that part in a film' s production that needs to be done after editing and before printing. it' s an intermediate stage .
is digital intermediate evolving from a post - production facilitator into a creative force of its own? janet hetherington chats with industry experts about how di is transforming the industry .
putting together a fim negative with a computer generated image is no trivial task. both are completely different mediums and respond differently to manipulation. fortunately, if one finishes a film as a digital intermediate, then the entire film exists digitally. integrating this digital negative with digital images made by a computer is relatively manageable .
the yrf technical division primarily works with the yrf distribution team to enable digital cinema content distribution for new yrf theatrical releases for india and overseas. this includes lab and digital intermediate coordination that are intrinsic to the post production process of any film’s theatrical release .
di uses digital processes to perform editing, grading, text, visual effects and more, generating a digital master ready for various distribution and delivery processes .
on starting this project way back in 2006, a web based guide to the digital intermediate, my ideas of what i thought would be an interesting and a useful guide to di soon became downtrodden with the technicalities of how the digital intermediate works. tackling this vast subject from a purely technical viewpoint would be extremely dull and uninspiring; whereas the creative work on films produced is nothing less than visually spectacular .
“di doesn’t just mean digital intermediate anymore, ” says neil smith, managing director of hollywood di. “it’s now a more generic term for digital post production. it’s all about shooting digitally and getting that content into editing, color, vfx and audio in the most efficient way. the whole process of digital acquisition and file - based workflow is modern di. ”
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the digital intermediate (di) process generally refers to any workflow that involves source video of 2k resolution or higher, whether from a high - quality film scan or a digital camera, and that results in new output media being generated for distribution instead of relying on conforming the original camera negative. the output can be high - resolution digital files or a film print made from the files .
in a world where over a 170 million people use social media on a regular basis, every working professional is expected to be familiar with at least the core tenets of digital marketing. in simple terms, digital marketing is the promoting of products over the internet or any form of electronic media. according to the digital marketing institute ,
digital marketing is the use of digital channels to promote or market products and services to targeted consumers and businesses .
to know more about digital marketing training online, visit our course page .
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cineon started life as a computer system that just happened to have a film format. it was designed as an end to end digital film computer processing system including film scanning and recording hardware. it was designed by kodak for digital intermediate film production. it included a scanner, tape drives, workstations with digital compositing software and a film recorder. the system was first released in 1993 and was abandoned by 1997 .
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now you know why it could come in handy, let’s see what it is. long story short, reverse mentorship is about leveraging the digital knowledge already present in your organization. the digital gems (often juniors) mentor the digital laggards (often seniors) in your organization .
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due to the growth of digital technology, some of the most striking use of vfx risks going unnoticed, in the photorealistic dramas such as the last samurai and cold mountain, which not only utilized cgi abundantly, but, perhaps, more importantly, took advantage of digital intermediate to achieve realistic atmosphere and scenery through alterations of natural decor .
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steve chapman of filmlight thinks that di is transforming the industry as the whole production process turns digital .
through this technological march, manufacturers and pioneers developed equipment to bring us this spectacle allowing film to be scanned into a digital format. this allowed us to manipulate it within a computer adding fx, print it back to film and seamlessly reinsert the ‘enhanced’ sequence back into the final edit. reaching further than digital fx, the digital intermediate process was born as these technologies progressed and the ideology grew. creative possibilities which previously were only seen in advertising and the television industry, such as creative colour timing, is now truly embraced by the cinematographer to enhance the look or style of their project. pioneered by smaller budget feature film makers, the digital intermediate or di has become yet another tool for the film maker’s repertoire .
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digital capture and digital presentation make this process even simpler, as the footage can be directly imported to the project. the scanning and final
film out
process' are slowly changing but the process is still a massive part used for restoration and the final optical printing for other markets, where digital projection is not yet the norm .
since about 2001, computers and storage reached that point in their evolution where it became possible to do this
intermediate
process
digitally
. hence ,
digital intermediates
which is the point of this whole web page. and i' m really repeating this too often now .
they agree that the di nomenclature may be out of date. “we’re hesitant to call it di, ” says martinelli. “it’s not really an intermediate to anything for us. ”
this is a showreel of d. i. colorist siddhartha gandhi containing red 4k and some 2k footage. he is a assimilate™ scratch operator, he has also undergone a 9 months digital intermediate training from digital film school (qlabs http: / www. digitalfilmschool. in /) mumbai. he is doing color grading since 2010. for more information about him log on to urltoken (will be launched soon )
a trip to the movies means seeing the latest feature film, with film being the operative word. today, however, the film used to shoot the latest hollywood blockbuster or animated feature likely has been massaged using digital intermediate, or di a facilitator that is rapidly becoming a routine part of the post - production stage .
to mark the change in the role of di in post, smith has even changed the tagline of this company name: the di in hollywood di now stands for “digital imagination” — the digital revolution going hand - in - hand with the creative revolution, he explains .
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phelan adds, there is an intermediate intermediate that has achieved great results going from film negative (35mm, 16mm) and mix - n - matching with possible tape formats, i. e. , hd - cam, dv etc. and resulting on hd - d5 (or similar tape format) such as the multiple award - winning touching the void so this is to be considered a variant, but member of the di family .
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digital fx are now synonymous with film and storytelling and we have grown accustomed to epic blockbusters with computer characters and digital enhancement. however, a certain depth will need to be covered, so if i miss or gloss over certain areas, it probably highlights how dull it actually is, in my humble opinion anyway – plus there are probably websites dedicated to an individual section i may have neglected. i also would like anyone visiting at random to glean enough information to understand, or at least have a good idea of what the digital intermediate is and to have a fair idea what that new credit is all about at the end of a release .
to explain this slightly better, di is the process of taking an edited film, in the form of an edl or a cut list, scanning the ok shots at a very high resolution, working on the shots one at a time, fixing the colours to make the film look interesting, maybe doing effects and blending cg with
normal
footage, and finally making out a negative from which the producer can make multiple prints to show in theatres. this negative that comes out is an
intermediate
and it' s done digitally, so the process is called
digital intermediate
.
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in the last few years the division has not only managed to digitize all content available in the analogue format but has also successfully completed digital restoration for the entire yrf catalogue. yrf is among the first in the industry to make their catalogue available in pristine high definition for further digital exploitation and satellite release .
with di, advancements include input as well as output. panavisions new genesis digital imaging camera is currently being used on superman returns. courtesy of warner bros .
the “operating system” of the country: a series of fundamental blocks upon which services for citizens, the public administration, and enterprises are built with modern digital products .
the gems you will find are often junior profiles, but being young does not necessarily make you an authority on digital. you will also need to identify those who need to step up their digital game to stay relevant in your organization. the fun part is, once you have done one, the other becomes much easier .
the digital market is in a constant state of flux. a digital marketing professional must find ways to keep up with this change. they need to be able to keep an eye out for emerging trends and the development of newer and smarter search engine algorithms. after all, nobody can afford to get left behind in this race .
this essay looks at the digital manipulation of color in such films as pleasantville and sin city in terms of their consequences for thinking about the ““wholeness”” and homogeneity of the image .
to stay on track and to keep both participants engaged, intermediate milestones must be defined. this also allows you to break up the ‘why’ of the project into smaller sub - needs, which makes it easier for the participants or organizer to create an agenda for the meetings .
while grading, one is looking at the picture on a display - a monitor or a projector. it' s a digital representation of the original negative. a digital negative. what is needed is a system that ensures that the picture that one sees on the display is exactly what is printed on the negative. this is the colour management system or cms .
instead of saying we have a standard that is a film digital intermediate (ie. cineon), the academy is saying in effect ,
could we produce a new pipeline that is a known entity? could we move or convert all the different digitally sourced files into this known new colorspace and make that new colorspace with such high end professional specs that we could do everything we want in it, without compromise and then get it out again back to whatever you want ?
technicolor has brought together the greatest team of color - finishing talent in the world. this process, begun in 2001, with the advent of the digital “intermediate” process of digital color - grading, has matured dramatically to include the best colorists here in los angeles, in both toronto and montreal, london, new york (by way of our brand associations with technicolor - postworks ny, mpc and the mill), and paris (by way of our brand association with mikros .) our colorists benefit from technicolor’s los angeles - based, in - house, color - science department, in the development of tools and “looks” for all our customers dailies and finishing needs .
people are consuming digital content on a daily basis. very soon, traditional marketing platforms will disappear, and the digital market will completely take over. there are a number of advantages to digital marketing. unlike traditional marketing, digital marketing is more affordable. you can reach a larger audience in a shorter time - period. technological advances have resulted in considerable attrition of the customer - base of traditional marketing agencies & departments. people have moved on to tablets, phones, and computers, which are the areas where digital marketers have gained the most ground. the term digital marketing was first used in the 1990s. the digital age took off with the coming of the internet and the development of the web 1. 0 platform. the web 1. 0 platform allowed users to find the information they wanted, but did not allow them to share this information over the web. up until then, marketers worldwide were still unsure of the digital platform. they were not sure if their strategies would work since the internet had not yet seen widespread deployment. in 1993, the first clickable banner went live, after which hotwired purchased a few banner ads for their advertising. this marked the beginning of the transition to the digital era of marketing. because of this gradual shift, the year 1994 saw new technologies enter the digital marketplace. the very same year, yahoo was launched. also known as
jerry' s guide to the world wide web
after its founder jerry yang, yahoo received close to 1 million hits within the first year. this prompted wholesale changes in the digital marketing space, with companies optimizing their websites to pull in higher search engine rankings. 1996 saw the launch of a couple of more search engines and tools like hotbot, looksmart, and alexa. 1998 saw the birth of google. microsoft launched the msn search engine and yahoo brought to the market yahoo web search. two years later, the internet bubble burst and all the smaller search engines were either left behind or wiped out leaving more space for the giants in the business. the digital marketing world saw its first steep surge in 2006, when search engine traffic was reported to have grown to about 6. 4 billion in a single month. not one to get left behind, microsoft put msn on the backburner, and launched live search to compete with google and yahoo .
as far as working in this digital realm with vfx in mind, i see genesis as an excellent instrument for recording the light in a scene, suggests scott e. anderson, visual effects supervisor and president of digital sandbox, a consultant on superman returns. while film interprets a scene, genesis records a more neutral view of the world, leaving the look to our interpretation in di or vfx .
film is not perfect for scene linear workflow, as the negative placed a' fingerprint' on the imagery that was carried into the cineon file - regardless of the log encoding aspects of a cineon file. if you come from a digital camera background you might ask ,
what colorspace does film get scanned into ?
but that is a deceptively complex question to answer. it is influenced by the toe and the shoulder of the film response curves, it is influenced by the fact that the film is transmissive - layers on layers so there is crosstalk between the colors, it is influenced by the film processing (think what a cross processing or bleach by - pass does to the image !) and of course the actual stock we are talking about: kodak vs fuji. but don' t forget cineon is designed as a film digital intermediate. it was designed to capture' film - ness' in a digital file .
digital intermediate also does both these processes, but works at a much higher resolution - at least' 2k'. let' s assume the resolution of film is 2k. in a conventional telecine process, one frame on 35 mm film which is 2048x1556 pixels is converted to 720x576 pixels (about 1 / 8th the size) and put on to a tape. if, later this picture, is reverse telecine' d from tape to film you have a situation where a small 720x576 picture is blown up to 2048x1556 (eight times the size) .
neil sadwelkar is one of india' s leading post - production technicians. neil is an editor, a consultant on data and workflows for movies and television and an occasional teacher and writer. neil runs a digital data and workflow services company called post blackbox that has worked on movies like bhaag milkha bhaag, shuddh desi romance, dhoom 3 and many others in the last couple of years. he runs an amazingly informative blog on all things digital here .
with di, advancements include input as well as output. for instance, panavisions new genesis digital imaging camera the first of its kind boasting film - like quality is currently being used on superman returns and a handful of other features .
do you feel you need to step up your digital game to cope with the challenges in your industry? or do you think you can teach your senior management a trick or two? reverse mentorship is your solution! why? because reverse mentorship is a great way to inject digital dna straight into all the layers of your company. its perfect for closing the gap between the average mindset of your market and the average mindset of your company. often your market is a lot more digitally mature than your leadership and management. lastly, because it is a key enabler for your digital transformation. let’s face it, transforming the people within your organization will be much harder than finding the right technology to make your plans happen .
in examining these ideas, our underlying conceptual methodology will be informed by computational design thinking, in particular shifts in contemporary design paradigms towards non - standardised architectural production and mass customisation avoiding serial repetition. specifically, the constant evolution of digital fabrication processes - such as 3d printing and robotic fabrication - enables us to work at a pace and resolution unimaginable just a few years ago. however, the manner in which these techniques have traditionally been utilised does not address the fixity of architectural space or the linearity of building process. with this in mind, intermediate 13 will continue to conduct research into systematic yet delicate and complex fabrication methods that can be continuously automated and reproduced to produce different architectural or non - architectural elements .
within this website i will look at the ideas and workflow encapsulating the digital lab, moving away from the chemical alternative. not just because it offers a more flexible approach but mainly because it is in tune with the approach in which most directors cut their teeth, entering the industry .
reverse mentorship is going from a one - way street to a two - way street. mentoring is nothing new, seniors have been mentoring juniors for ages based on their years of experience, their industry knowledge and business insights. reverse mentorship is about adding a stream in the opposite direction. the junior mentors the senior on what he or she has experience in and gives the senior digital insights that are fundamental to do business in the future. although this new dynamic might feel unnatural for the both of them, it is the key to make your company digital first .
defining who’s who can be done through a digital readiness scan. this could be in the form of an interview, survey or by making participants solve tasks. you can use our template here (just click on file - > download and view the google form in your google drive )
ornamentation in architecture has long been debated in terms of its suitability, its ability to be measured or controlled, or whether it fulfils a structural or a functional role. intermediate 13 aims to challenge these traditional notions of ornament by looking at the way its shape, geometry and spatial qualities are driven by structural principles and by architectural use. what interests us is ornament that is inhabitable, functional and rich in information or, in other words, intelligent ornamentation .
after conform, you have your whole film in the form of a timeline at full film resolution - 2k. all through the grading process, it is necessary to ensure the
digital negative
is in sync with the original edit. the conform system can do side by side comparisons and ensure this .
as part of this system kodak' s fine engineering team (and at the time there was none finer) declared that the full film image could be captured digitally and stored in a 10 bit log file format called cineon. importantly, this was an intermediate format - it was designed as a film bridge. it was not designed for cgi nor any digital final delivery. it was meant to represent the
printing density
, that is, the density that is seen by print film. it is vital to understand that cineon files were assumed to operate as part of a film chain keeping whatever values were originally scanned from your negative to be later reproduced on a film recorder. it was designed to retain the original neg' s characteristics such as color component crosstalk and gamma .
color and visual presentation are areas where di enjoys key impact. veteran colorist and di pioneer peter doyle, who worked on providing distinct visual identities to the lord of the rings trilogy, the matrix and the latest two harry potter films, acted as supervising digital colorist on tim burtons charlie and the chocolate factory .
after locking picture, projects come to stuck on on for one - stop finishing, says gregg. “we can do everything from digital lab services — dailies and one - lights — to a spit - and - polish finish, including audio. ” the facility is equipped with assimilate scratch, its “workhorse” color tool, and davinci resolve .
film recorders take a
digital negative
from a hard disk and record it back to a 35 mm film. different technologies are used for this - lasers, lcds, crts. but the common thing is that film recorders are slow. recorders are rather slow - 1 - 4 sec per frame. one day per 2000 ft reel .
as ever in film production, given a tool kit, people are pushing what is possible here, combining techniques from digital emulation, tradition lab processes with the full complexity of a special effects compositing system, says filmlights chapman. weve certainly seen shots with over a 100 layers in, which still retain the look of a special moment photographed for real .
through a series of 1: 1 - scale prototypes, the unit will investigate a number of design and fabrication techniques, driven by material behaviour as well as by specific crafting techniques, both digital and analogue. through a focus on geometry and materiality, we will constantly look to pursue unique spatial formations where both internal and external experiences are informed by the specificity of applied processes. this will be achieved by using a number of computational and algorithmic design techniques, each corresponding to a unique material system. it is hoped that the resulting digital simulations will operate in constant feedback with the development of parallel material systems - an integrated model allowing computational techniques to be a fundamental part of the design process rather than merely a representation tool .
when doing di, the film is scanned at 2048x1556 pixels into digital file. one file for each frame. after that point all the systems in the di chain work on these files but they leave them at 2048x1556. finally after all the action is over the recorder also takes these 2048x1556 files and records them out to film. so the original resolution is preserved .
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when hollywood di (www. hollywooddi. com) opened in west hollywood in 2005, it decided to focus on digital acquisition and file - based workflows. the company invested in assimilate scratch and apple color, which worked well for its client base. smith admits to being skeptical when blackmagic bought davinci and re - engineered the software for the mac leveraging nvidia’s cuda architecture .
adding to a demanding arena of different media, a hectic vfx content on many films, and the fact that the markets for films after the initial theatrical release of a feature film demand (or should demand) stricter control of what the film looks like across the board, then di assists beyond belief in making sure that the film print, the digital projection masters, hd masters and so on are absolutely perfect .
the edl made by the edit system - avid or fcp or whatever - system contains numbers which tell the scanning system where the used shots are located. this scanning system then scans the film at
2k
and turns each film frame into a digital file - 2048x1556 pixels (12 mb per frame, 1000 gb / hour). or' 4k' meaning 4096x3112 (50 mb per frame, 4000 gb / hour) .
dps using digital cameras have to be careful about protecting highlights and shadows, he says, although they can use the limits of their cameras to their own advantage. “with the f3 there was a good chance that the highlights would be blown out. but director bob byington and dp sean price williams built that look into a scene: they backlit it so they’d have a blooming window — it became a style and was quite effective. ”
then came web 2. 0, where people became more active participants rather than remain passive users. web 2. 0 allowed users to interact with other users and businesses. labels like ‘super information highway’ began to be applied to the internet. as a result, information flow volumes –including channels utilized by digital marketers - increased manifold, and by 2004, internet advertising and marketing in the us alone brought in around $ 2. 9 billion .
in the early 90s when discreet' s flame was first released as the then' art of the art' in digital film compositing, many film pipelines used luts to convert 10 bit cineon film scans into 8 bit' linear' files. luts were destructive, literally picking the' right 8 bits' from a much larger film and converting from cineon printer density (cpd) colorspace to sometimes a video colorspace to allow feature film effects to be done .
the company has an array of di solutions: quantel pablo for the bulk of 2d work, sgo mistika for most stereo 3d projects and autodesk lustre for the balance. creative post just opened a 400 - seat di theater off premises via its theater d digital sibling. the restored art deco theater in downtown toronto boasts a 50 - foot screen for traditional color grading and reald stereo 3d viewing, a christie 4k projector and dolby 7. 1 - certified mixing .
steve scott is vp / supervising digital colorist at hollywood’s efilm (www. efilm. com), whose di history extends from the first full - length di for we were soldiers in 2001 to today’s stereo 3d dis for a great number of the marvel features as well as the recent star wars: the phantom menace. scott himself did the di for tree of life, which earned a 2012 academy award nomination for best cinematography for its dp, emmanuel lubezki .
kevin phelan, head of post - production at lip sync post, comments, the u. k. has seen rapid growth in the last three years. other european countries like france, which has a strong history of excellent digital fx for film along with the u. k. and the u. s. , germany, italy, etc. scandinavia has long been represented, particularly by dfl, which was maybe the first to do a complete di via a datacine device .
the red digital cinema camera company would recommend you go to a redcolor2 colorspace. this is their own solution and you could say this reflects their -' individuality' - their desire to be different and trail brazing, a' do it differently and better' approach. it is such a red solution, and they will argue very effectively that they know their cameras best and this is the best solution for their cameras, and it' s true redcolor2 works really well for red cameras .
best in the comedic category was pirates of the caribbean: the curse of the black pearl and it is a prime example of vfx supporting the action of a film, and enhancing the performances through the seamless realism and imaginative fantasy of the digital effects. i doubt theres a single viewer in the world that would come away from that film remembering the pirate ghosts over johnny depps hilarious performance. as an example of vfx carefully tailored to suit both humor and adventure, pirates sets a new standard of excellence .
digital capture can be a better candidate for scene linear workflow. that is a workflow that says
let' s work on this file with it referencing the source - real life - imagery and not the output .
in its purest form scene linear is a linear relationship between light intensity in the scene and a set of rgb values, with no bias or consideration to encoding to some. it is not designed to be an image that is viewed directly. it is defined as a base line linear .
the cookie was another important milestone in the digital marketing industry. advertisers had begun to look for other ways to capitalize on the fledgling technology. one such technique was to track common browsing habits and usage patterns of frequent users of the internet so as to tailor promotions and marketing collateral to their tastes. the first cookie was designed to record user - habits. the use of the cookie has changed over the years, and cookies today are coded to offer marketers a variety of ways to collect literal user data .
steve chapman, director of filmlight, a u. k. - based specialist in the field, agrees that di is transforming the industry. from a technical standpoint, its very similar to what happened to video post - production in the late 1980s, when suddenly the whole production process went digital, chapman says. from the creative perspective, i would hope its further enabling the director of photography (dp) and the director to create beautiful images, without the enormous pressure of having to capture it all completely in camera .
those expectations may stem from all that di is able to achieve. doyle notes that a film can now be available for digital cinema or hd even before mechanical prints are made. a director has the opportunity to present the film live, and then receive and apply feedback from the presentation. the director can present the film at its absolute best quality and make changes to it within hours somewhat like a live broadcast. the di can be compared to a big grading room with the right tools, letting the project evolve with a sense of spontaneity .
preservation of the industry’s cultural assets is something technicolor has been a part of for many decades. as older films, classics and library - titles alike, require restoration to be brought into the digital era, technicolor has maintained a strong presence in restoration services located in our los angeles - based imaging operation. technicolor has restored many celebrated classics. the business recently restored director francis coppola’s under - appreciated masterpiece, the cotton club. and our team is currently working on the restoration of director orson welles unfinished film, the other side of the wind .
cineon was hugely successful and immensely significant in the development of film effects and film production in general, as shown by its widespread use still today. cineon as a file format is however somewhat limited and in the 90s the dpx file format was developed. it can be thought of as a container within which kodak' s cineon (. cin files) are often found. dpx or digital picture exchange is now the common file format for post - production interchange and visual effects work and is an ansi / smpte standard (268m - 2003) .
in a film & video article by jaclynne gentry, the chair of the asc technology committee, curtis clark, asc, was quoted as saying, “if you have a digital camera that’s capable of recording wide dynamic range like film, but you then do a transform that puts it in a limited color - gamut space like rec. 709, you’re going to clip highlights. ” he also added, “all the detail that you know is there suddenly doesn’t appear to be there. so how do you maintain the full potential within a workflow all the way to the finished output? ”
throughout the nineties the full impact of digital vfx became apparent – steven spielberg realised the terror of living, breathing dinosaurs in jurassic park. then james cameron conjured ‘the ship of dreams’ into the consciousness of billions with titanic. it does seem possible... if we dream it, we can begin to realise it. the noughties saw vfx truly come of age seamlessly becoming part of the narrative. the teenies seem to have thrust 3d to the forefront becoming a staple part of our cinematic experience. hopefully the imagery will be pushed harder with full 4k and high frame rate technology becoming the standard .
hollywood di is providing a full package of services for static, in fact. it was conformed on one of the company’s avid media composer 6 systems. “using avid’s own cool 3d tools you can cut in stereo and quickly see the 3d pacing on the stereo monitor, ” says smith. “then we took static into resolve for color grading and stereo sweetening at the same time as enhancing the 3d vfx shots that were delivered from maya digital systems in india. we were able to do the final geometry finessing and color all on one system at high quality with tremendous cost benefits, especially for indie filmmakers. ”
film, unlike a digital sensor, requires the light to pass through other layers of the film to get to the layer recording its particular color. for blue light to be recorded by the blue layer of the actual film it had to pass through a bunch of other layers - including the green and red film layers. this leads to a few key film characteristics, such as crosstalk or the mixing of the rgb values more than say a pure cmos sensor would with individual blue, green and red photo sites. of course, cmos data will then get interpreted (matrix - ed) creating its own issues .
not surprisingly, at londons moving picture co. (mpc), di was deemed a natural on tim burtons corpse bride, the first stop - motion animated feature to be shot digitally. mpc was already committed to undertaking around 460 vfx shots, when di colorist max horton was consulted as to how the material originating from digital stills would look when graded and shot to film. in the summer of 2004, we set about using a quantel iq system to grade test sequences, these were then shot back to film on an arri laser film recorder and [ we ] evaluated the results in our cinema, horton explains .
for 2014 show that posting on social media is the top online activity in the us. the average american spends 37 minutes a day on social media. 99% of digital marketers use facebook to market, 97% use twitter, 70% use google +, 69% use pinterest and 59% use instagram. 70% of b2c marketers have acquired customers through facebook. 67% of twitter users are far more likely to buy from brands that they follow on twitter. 83. 8% of luxury brands have a presence on pinterest. the top three social networking sites used by marketers are linkedin, twitter, and facebook .
but a dpx or openexr file is really just a container. it is the way we interpret the world - the color spaces, gamma and associated mathematical approaches - that has really evolved. when digital domain held a private screening for a group of high level directors to see if they could tell the difference between shots done on an 8 bit (yes 8 bit) film pipeline and a full 10 bit log (12 bit) pipeline - when the same shots were projected - only one director picked the difference. if that is the case, why has the industry pushed so hard to move to ever larger and more complex file formats ?
once film was only a capture and display media, and all post - production meant digital manipulation, the industry has been in a constant battle to make sure that the director' s vision was correctly translated to the final screen. the aim was simple: to keep the data and processing time under control, avoid the images drifting in color or degrading in quality and simultaneously push the technology and state of the art of filmmaking to make more and more arresting imagery that would emotionally connect with an audience. from accurate skin tones on the side of the face of your leading lady, to the black levels of a cg robot, to the interacting of effects and non - effects shots, the challenge required some of the best minds of the industry to tackle color management .
as mentioned above, redcinex supports exporting openexr in aces. this is a very interesting workflow. the red digital cinema camera company has pioneered the use of multisampled hdr film production with their hdrx solution. this solution, combining as it does two exposures, achieves a much larger dynamic range and does so at up to 5k resolution at high frame rates. redcinex allows these two frames to be time aligned with magic motion and the resulting single frame has a vast grading latitude. this file is well suited to a scene linear workflow and while it can be output as an openexr with redcolor2 it can also be exported as an aces file type. anecdotal evidence suggests most red users are not yet adopting this workflow, but it will be interesting to see if it develops as more and more people and post pipeline allow full aces support .
2003 was certainly a watershed year for films featuring digital visual effects. running the gamut from the lord of the rings: the return of the king, to the ceaseless action of the two matrix sequels, revolutions, viewers have never before seen such variety. in the realm of pure fantasy, one wonders whether we have ever been presented with something so flatly audacious as underworld, with its fashion magazine veneer, almost, but not quite, camouflaged its lack of substantial narrative. yet perhaps an even greater example of what might be considered the over - use of vfx was on display in the matrix sequels, resulting in the now notorious omission of revolutions from oscar consideration. speaking of the growth of vfx in the years since t2, industrial light & magics visual effects supervisor eric brevig says, there is nothing that we cant create in terms of images. if you can think of it and communicate what you want, it can be created .
a time - honored cinematic truth was again proven in this vfx crowded year: story and character are still the foundation of a successful film, no matter what visual pyrotechnics are brought to it. after having spoken to visual effects supervisors and lead animators at ilm, digital domain, asylum and uncharted territory, one theme was universally agreed upon: vfx cannot be the emphasis of a film story must come first, a directors overall vision must be the controlling factor in a film for it to inspire the fascination that will lead viewers to be awe of the spectacle. its not just a question of less is more; its about suiting the quantity of vfx to the narrative scope not vice versa. league of extraordinary gentlemen, with its nautilus sub so large as to seem the size of a submergible empire state building, does not have any single scene that can compete on an emotional level with the impact of the resurrection of tinker bell in peter pan, though she is merely a few inches tall .
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the primary goal of this workflow is to edit low - resolution versions of the source video clips in final cut pro but have color be able to color correct the original full - resolution source video clips and output the final movie. this is accomplished by exporting an edit decision list (edl) from final cut pro that color uses to match to clip records in a cinema tools database .
this is the simplest approach but requires a lot of disk storage space for the large video files that result. this approach is detailed in this section .
this approach is a bit more complicated and uses a telecine to provide the offline video for final cut pro to edit. this approach is detailed in the
final cut pro cannot work directly with the dpx image sequences that are typically used in this workflow. you can use color to create quicktime files (usually based on an apple prores codec) from the dpx image sequences. using color ensures that the quicktime files have the correct reel number (the folder name that contains the actual dpx files) and timecode (as embedded in the dpx files) .
you can create these downconverted files in color by creating a new project with render file type set to quicktime and export codec set to the codec you want to use. then simply edit all the shots you want to convert into the timeline, add them to the render queue, and click start render. see the color documentation for more information .
a cinema tools database for a di workflow is much simpler than a database for a typical film workflow because there is often no film information to track. you can create the database by simply dragging the folder that contains the original media files to the cinema tools application icon (it doesn’t matter whether cinema tools is already open or not). a dialog appears asking if you want to create a new database. the new database creates a record for each clip found in the folder and its subfolders .
if you create a cinema tools database by dragging a folder containing many dpx files to the cinema tools application icon, the process can take a long time and it might appear that cinema tools is not responding. be sure to give cinema tools plenty of time to process the clips.
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 . although originally used to describe a process that started with film scanning and ended with film recording , digital intermediate is also used to describe color correction and color grading and even final mastering when a digital camera is used as the image source and/or when the final movie is not output to film . this is due to recent advances in digital cinematography and digital projection technologies that strive to match film origination and film projection . in traditional photochemical film finishing , an intermediate is produced by exposing film to the original camera negative . the intermediate is then used to mass-produce the films that get distributed to theaters . color grading is done by varying the amount of red , green , and blue light used to expose the intermediate . this seeks to be able to replace or augment the photochemical approach to creating this intermediate . the digital intermediate process uses digital tools to color grade , which allows for much finer control of individual colors and areas of the image , and allows for the adjustment of image structure ( grain , sharpness , etc. ) . the intermediate for film reproduction can then be produced by means of a film recorder . the physical intermediate film that is a result of the recording process is sometimes also called a digital intermediate , and is usually recorded to internegative ( in ) stock , which is inherently finer-grain than camera negative ( ocn ) . one of the key technical achievements that made the transition to di possible was the use of the 3d look-up tables ( aka " 3d luts " ) , which could be used to mimic how the digital image would look once it was printed onto release print stock . this removed a large amount of skilled guesswork from the film-making process , and allowed greater freedom in the colour grading process while reducing risk . the digital master is often used as a source for a dci-compliant distribution of the motion picture for digital projection . for archival purposes , the digital master created during the digital intermediate process can still be recorded to very stable high dynamic range yellow-cyan-magenta ( ycm ) separations on black-and-white film with an expected 100-year or longer life . this archival format , long used in the industry prior to the invention of di , still provides an archival medium that is independent of changes in digital data recording technologies and file formats that might otherwise render digitally archived material unreadable in the long term . 
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. although originally used to describe a process that started with film scanning and ended with film recording, digital intermediate is also used to describe color correction and color grading and even final mastering when a digital camera is used as the image source and/or when the final movie is not output to film. this is due to recent advances in digital cinematography and digital projection technologies that strive to match film origination and film projection. in traditional photochemical film finishing, an intermediate is produced by exposing film to the original camera negative. the intermediate is then used to mass-produce the films that get distributed to theaters. color grading is done by varying the amount of red, green, and blue light used to expose the intermediate. this seeks to be able to replace or augment the photochemical approach to creating this intermediate. the digital intermediate process uses digital tools to color grade, which allows for much finer control of individual colors and areas of the image, and allows for the adjustment of image structure (grain, sharpness, etc.). the intermediate for film reproduction can then be produced by means of a film recorder. the physical intermediate film that is a result of the recording process is sometimes also called a digital intermediate, and is usually recorded to internegative (in) stock, which is inherently finer-grain than camera negative (ocn). one of the key technical achievements that made the transition to di possible was the use of the 3d look-up tables (aka " 3d luts "), which could be used to mimic how the digital image would look once it was printed onto release print stock. this removed a large amount of skilled guesswork from the film-making process, and allowed greater freedom in the colour grading process while reducing risk. the digital master is often used as a source for a dci-compliant distribution of the motion picture for digital projection. for archival purposes, the digital master created during the digital intermediate process can still be recorded to very stable high dynamic range yellow-cyan-magenta (ycm) separations on black-and-white film with an expected 100-year or longer life. this archival format, long used in the industry prior to the invention of di, still provides an archival medium that is independent of changes in digital data recording technologies and file formats that might otherwise render digitally archived material unreadable in the long term.
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. although originally used to describe a process that started with film scanning and ended with film recording, digital intermediate is also used to describe color correction and color grading and even final mastering when a digital camera is used as the image source and/or when the final movie is not output to film. this is due to recent advances in digital cinematography and digital projection technologies that strive to match film origination and film projection. in traditional photochemical film finishing, an intermediate is produced by exposing film to the original camera negative. the intermediate is then used to mass-produce the films that get distributed to theaters. color grading is done by varying the amount of red, green, and blue light used to expose the intermediate. this seeks to be able to replace or augment the photochemical approach to creating this intermediate. the digital intermediate process uses digital tools to color grade, which allows for much finer control of individual colors and areas of the image, and allows for the adjustment of image structure (grain, sharpness, etc.). the intermediate for film reproduction can then be produced by means of a film recorder. the physical intermediate film that is a result of the recording process is sometimes also called a digital intermediate, and is usually recorded to internegative (in) stock, which is inherently finer-grain than camera negative (ocn). one of the key technical achievements that made the transition to di possible was the use of the 3d look-up tables (aka " 3d luts "), which could be used to mimic how the digital image would look once it was printed onto release print stock. this removed a large amount of skilled guesswork from the film-making process, and allowed greater freedom in the colour grading process while reducing risk. the digital master is often used as a source for a dci-compliant distribution of the motion picture for digital projection. for archival purposes, the digital master created during the digital intermediate process can still be recorded to very stable high dynamic range yellow-cyan-magenta (ycm) separations on black-and-white film with an expected 100-year or longer life. this archival format, long used in the industry prior to the invention of di, still provides an archival medium that is independent of changes in digital data recording technologies and file formats that might otherwise render digitally archived material unreadable in the long term.