D.I. Theater

The Digital Intermediate (DI) process is revolutionizing filmmaking, both artistically and economically. The DI workflow brings the speed and versatility found in digital video production to the film world while maintaining the highest standard of quality and resolution.

DI replaces the photochemical process with a digital master, free of the generational loss accumulated over multiple runs of the original negative. Color grading (timing), titles, and visual effects are among the many elements that can be pre-visualized in real-time and changed instantly, saving both time and money by eliminating the wait for workprints. The finished 2K master can be output to film or any video format in multiple resolutions, frame-rates and aspect ratios.

SUMMARY OF SERVICES

• Spirit 2K Scanning with da Vinci 2K and Pandora Megadef Color Systems
• Disc to Disc source level 2K color grading to digital projection with primaries, secondaries, vignette, vector isolation, image resizing and Truelight 3D LUT color management
• Tape-to-Tape HD/SD color correction
• Film Formats: Super 35mm and 35mm: including 3 Perf, Super 16mm and 16mm
• Digital Film Restoration
• Defocus keying, enhancement, blowups, color isolation, multiple positioning
• Scream Grain Management
• 2K Digital and Film Projection with 5.1 Dolby Licensed Surround Sound Audio
• Project Workflow Design

SPIRIT 2K • The Spirit 2K set the industry standard for cost effective, high resolution film scanning. It expertly addresses the growing demand for digital intermediate feature film mastering, cinema commercial post production and visual effects. For DI our Spirit scans are output as 2K Data, 4:4:4 uncompressed HDTV or 4:2:2 HDTV standards, scanning from 4, or 3 perf. Super 35mm, 35mm, Super 16mm or 16mm film with “Scream” Grain Management.

QUANTEL IQ • iQ’s speed, quality and connectivity put it at the heart of our Digital Intermediate facility, enhancing the production pipeline with its near real-time rendering and its ability to edit and output all formats in “resolution coexistence.” It also has the ability to work in a server mode, controlled by the Pandora Megadef, for final color correction, editing, titling, background data archiving, 2K, HD and SD operation.

PANDORA MEGADEF EVOLUTION • Coupling the Pandora Evolution controller and Pandora’s PiXi color processing engine with the Quantel iQ media platform enables us to perform source level color correction, in 2K or HD, of conformed program material, disk to disk in our IQ editing system, to 2K digital projection. The result is an integrated digital color correction and finishing suite that provides complete real-time, end-to-end processing of 2K imagery and total creative freedom in the post-production process.

TRUELIGHT • Filmlight’s color management system with 3D look-up tables simplifies facility calibration using Truelight’s input and output LUT’s to synchronize 2K Digital Projection to perfectly match the film recorder output and desired print stocks. This is THE critical final step in accurate previsualization of the film end product prior to film recording.

MAXIMUM THROUGHPUT SLEDGEHAMMER • Sledgehammer is a powerful NAS (networked area storage) device which provides real time review of 10 bit log 2K DPX files, VTR emulation (RS 422) for controlled ingest and playback from MegaDEF Evolution, or IQ, and output look-up tables (LUTS) for on-the-fly color space conversion for output display via 4:2:2 and 4:4:4.

NEC IS8-2K DIGITAL PROJECTOR • The iS8-2k projector, with digital-cinema quality 3 chip DLP dark metal DMD technology and a 1700:1 contrast ratio, serves as the primary display system for the DI theater. iS8 offers accurate previsualization of the film end product, while the dual link HD-SDI input allows for either a 4:4:4 or 4:2:2 workflow.

KINOTON FP 30E FILM PROJECTOR • The Kinoton 35mm projector with electronic drive mechanism provides rock steady projection of flat or scope film projects. The three-blade shutter projector handles 3 or 4 perf material. Both iS8, 2K and 35mm projection can be split-screened for side by side verification of final imagery.

Digital Film

Digital Film is one of the most exciting forms of content delivery to emerge from the film and television communities in recent years. It has enabled advertisers to reach millions of people through thousands of movie screens and helped democratize the filmmaking world by allowing filmmakers to acquire material on multiple formats and deliver a high quality film print. The Digital Film department at PostWorks NY produces 35mm motion picture film negative with extraordinary contrast range, and at scalable resolutions to provide beautiful imagery from any input resolution.

The alchemy involved in transferring video to film has been completely demystified by new technologies and the accessibility of High Definition Data as an intermediate. The use of 24p or data as the step prior to recording film offers the ability to previsualize elements in real-time that are the closest representation to the final film. Working in a 24p environment ensures that the transition from the highly controlled world of digital tools to the more unpredictable world of film is as precise a transition as possible.

SUMMARY OF SERVICES:

• Digital Intermediates
• Film Scanning by Spirit 2K (S35mm, 35mm, S16mm and 16mm)
• Image Processing and Manipulation
• Film Recording from all Digital Media and Videotape Formats
• Project and Workflow Design
• On-Site Technical Support & Consulting
• In-House Post Producers

Film Recorders

ARRILASER • The ARRILASER bridges the gap between digital film production and analog film projection. It is the first cine film recorder to use three solid state lasers as the light source, setting an industry standard in productivity and reliability, while significantly increasing the quality of recording digital images onto fine-grain intermediate film.

LASERGRAPHICS • The Lasergraphics film recorder exceeds the 2K and 4K resolution requirements of military, medical and digital photography clients, and the equally demanding needs of the motion picture industry. The software interface offers a great deal of control over color, contrast, gamma and image geometry with the additional benefits of recording to camera negative film for imparting a distinctly filmic look to digital sources.

Deliverable Requirements
A firm understanding of distributors’ deliverable requirements is a critical and often underestimated aspect of post production. Moreover, deliverables vary from distributor to distributor. It is therefore important to understand what and how elements need to be created prior to signing a distribution agreement. To this end, PostWorks NY serves as liaison for the client, seamlessly pulling together all elements necessary for the final delivery to the distributors, including the creation of optical sound track negatives and laboratory services, as well as the highly clerical aspects of working with the distributors to handle the complex orchestration of all completed elements.

High Definition

We are leading providers of solutions for high definition imaging, and are able to support any of the multiple formats in the new landscape of HD post production where variable resolutions, frame rates and deliverables coexist. To this end, we continue to extend our lead into high definition, film finishing, visual effects, and graphic design.

SUMMARY OF SERVICES

• Film-to-Tape and Tape-to-Tape Color Correction with da Vinci 2K and Pandora Megadef
• High Definition Dailies with Spirit 2K
• Supporting all formats including HD CAM SR, D5, HDCAM, DVC Pro HD and HDV
• Feature Film and Broadcast Mastering
• Digital Intermediates (including scanning and recording)
• Tape-to-Film for Theatrical Release
• Teranex Format Conversion; Up, Down, and Cross-Conversion; To/From all Formats and Frame Rates
• Dolby Audio Relay
• Digital Opticals and Visual Effects
• Graphics & Title Design
• Film Preservation/Restoration

SPIRIT 2K • Our Spirit 2K is the industry standard for high resolution film transfers. Whether it’s commercial post production, feature film mastering, or digital cinema, it delivers outstanding results. With 2K data scanning functionality, it expertly addresses the growing demand for digital intermediate feature productions-supporting SDTV, HDTV, or 2K data from 35mm, 16mm or S16mm film.

DA VINCI 2K • The 2K Plus is a real-time color enhancement system with support for multiple standards and resolutions. With the 2K Plus, colorists are able to access da Vinci’s Power Tiers, Defocus, and Palette toolsets, along with 12 qualifier windows. In addition to improvements in the primary and secondary color correction feature set, the 2K provides colorists with increased flexibility through an enhanced key bus, improved gamma curve adjustment, and dedicated Kilovector key outputs.

QUANTEL IQ • The iQ’s speed, quality and connectivity put it at the heart of our Digital Intermediate facility enhancing the production pipeline with its near real-time rendering and its ability to edit and output all formats in “resolution coexistence”. It also has the ability to work in a server mode, controlled by the Pandora Megadef for final color grading. The system offers real-time versioning, integrated color correction, editing, titling, background data archiving, 2K, HD and SD operation.

AVID SYMPHONY NITRIS & DS NITRIS • These systems facilitate creative editing, conforming and finishing of all types of projects at multiple compressions and High Definition formats. Avid’s Symphony Nitris & DS Nitris deliver real-time performance with two streams of 10-bit HD media for editing, compositing, paint, character generation, special effects, image treatment, and Symphony-style color correction. With the industry’s highest level of support for AAF and OMF compositions, the Symphony Nitris & DS Nitris make conforming a program offlined on a Media Composer, Symphony or Xpress system a fast and accurate process. 24p mastering allows multiversion editing capabilities to generate customized versions, and deliver in any format at the touch of a button.

4:4:4 HD • Quantel iQ and Avid DS Nitris systems are fully 4:4:4 capable, with the advantages of a tape-based RGB workflow for efficient color management in HD without compromising quality.

PANDORA MEGADEF • Coupling the Pandora Pogle controller and its PiXi color processing engine with the Quantel iQ media platform enables us to leverage the full power of each system component in a truly collaborative workflow environment. AAF metadata is shared between the systems, ensuring that all elements keep perfectly in step with each other and each is precisely aware of changes as they occur. The result is an integrated digital color correction and finishing suite that provides real-time, nonlinear processing of 2K imagery and total creative freedom in the post production process. Colorists and editors stay in step with each other interactively at every stage, making and changing color correction and editing decisions at will, and reviewing the results instantaneously at full resolution on-screen.

TERANEX XANTUS • As a High Definition standards conversion system, the Teranex is capable of processing many variables (aspect ratios, removal of 3:2 pull down, field merging, detail enhancement, noise reduction, etc.) as it performs its conversions up, down and in-between all HD standards and frame rates.

Sound

PostWorks NY has met the increased demand for audio finishing by joining forces with some of New York’s most respected talents in the field of audio post. We represent one of the largest independent and vertically integrated audio post production facilities on the East Coast.

• 9 Digital Mixing stages and suites
• 3 Dolby Digital 5.1 Mixing rooms for film, television or DVD
• Audio Relay/Layback for all standards including NTSC, PAL and HD (all formats)
• Audio Relay/Layback for all formats of surround sound including film print mastering, Dolby E and Dolby Stereo
• Scalable Sound Editorial and Design Services with customizable Editing Suites
• Vast, networked Sound Effects Database available in all sound rooms
• 9 rooms for Voice Over & ADR with ISDN available at all locations
• 1 Foley Stage

SOUND DESIGN
Our studios have access to over 100,000 sound effects available on a server-based network. This efficient system reduces search time while increasing the sound designer’s creative options.

SOUND MIXING
Our three prime re-recording studios, Studio C at our Midtown location as well as Mix 2 and Mix 4 at our SoHo facility, feature all digital mixing environments capable of handling any format from stereo broadcast mixing to Dolby approved 5.1 print mastering. In addition to these three studios, six other suites are available for 5.1 and stereo mixing.

ADR / VOICE OVER RECORDING
Automated Dialogue Replacement (ADR) and Voice Over Recording (VO) can be performed in our studios at both locations, providing increased flexibility and convenience for producers, directors and talent. Our ADR and VO studios are also capable of connecting to ISDN equipped studios throughout the world for remote, long distance recording or monitoring.

Telecine / Color

In almost no other area of post production is the marriage of talent and technology as critical as it is with color correction. We’ve assembled a team of talented colorists and put the most innovative tools at their disposal.

Our suites feature the ultimate in equipment, including the Spirit 2K, da Vinci 2K, and Pandora’s Megadef Color System. Each color suite is capable of direct transfer to data/disk, all videotape formats and all High Definition standards. Our colorists are often involved from the initial consultation with a client through the final stages of delivery, offering their creative input every step of the way.

SUMMARY OF SERVICES

• Spirit 2K film transfer with da Vinci 2K and Pandora’s Megadef Color Systems
• Film-to-Tape and Tape-to-Tape color correction for High Definition and Standard Definition
• Film Formats: 16mm, S16mm, 35mm, and S35mm including 3 Perf
• Best Light, One Light, and Dailies Transfers to all standards and formats
• Digital Film Restoration
• Multiple Power Windows
• Defocus keying, enhancement, blowups, color isolation, multiple positioning
• Color Grading to Projection
• Scream Grain Reducer
• Project Workflow Design
• Sound Synching from multiple audio formats

SPIRIT 2K • Our Spirit 2K is the industry standard for high resolution film transfers. Whether it’s commercial post production, feature film mastering, or digital cinema, it delivers outstanding results. With 2K data scanning functionality, it expertly addresses the growing demand for digital intermediate feature productions-supporting SDTV, HDTV, or 2K data from 35mm, 16mm or S16mm film.

PANDORA MEGADEF • Coupling the Pandora Pogle controller and its PiXi color processing engine with the Quantel iQ media platform enables us to leverage the full power of each system component in a truly collaborative workflow environment. AAF metadata is shared between the systems, ensuring that all elements keep perfectly in step with each other and each is precisely aware of changes as they occur. The result is an integrated digital color correction and finishing suite that provides real-time, nonlinear processing of 2K imagery and total creative freedom in the post production process. Colorists and editors stay in step with each other interactively at every stage, making and changing color correction and editing decisions at will, and reviewing the results instantaneously at full resolution on-screen.

DA VINCI 2K • The 2K Plus is a real-time color enhancement system with support for multiple standards and resolutions. With the 2K Plus, colorists are able to access da Vinci’s Power Tiers, Defocus, and Palette toolsets, along with 12 qualifier windows. In addition to improvements in the primary and secondary color correction feature set, the 2K provides colorists with increased flexibility through an enhanced key bus, improved gamma curve adjustment, and dedicated Kilovector key outputs.

Digital Media

SUMMARY OF SERVICES

PREFLIGHT CONSULTATION
Whenever we can, be it on the phone or in person, we strive to offer one-on-one project analysis prior to starting any job. This is so that we can resolve potential problems before we physically start a job as well as marry client expectations with technical realities.

INPUT / OUTPUT

• Final Cut Pro, Avid Meridian & Adrenaline projects as well as After Effects project outputs (self-contained Quicktime movies) to Tape (all formats)
• Tape (all formats) to Quicktime, Avid Media or Data (TIFF, TARGA, DPX)
• Ingest P2, XDCAM EX, RED, Phantom CINE footage for use in FinalCutPro or Avid DS
• Ingest P2, XDCAM EX, RED, Phantom CINE footage and output to Tape
• File Transfer to client FireWire drive, FTP, or Aspera FASPex

DIGITAL MEDIA SUPPORTED TAPE FORMATS
We work with the entire range of SD and HD tape cassette formats including:
SD • Digital Betacam, BetaSP, DVCam, DVC PRO, Mini DV, 3/4
HD • HDCAM SR (444 SQ, 444HQ, 422), HDCAM, D5, DVCProHD, HDV

DAILIES
A bulk of our work is centered on performing digital dailies for television shows and feature films. The media types that we work with and create include:

• Encoding DVCAM, D-Beta, D5, HDCAM, HDCAM SR to Windows Media, Quicktime, H.264, MP4, AppleTV
• Encoding DVCAM, D-Beta, D5, HDCAM, HDCAM SR to Avid Media/FCP Projects
• Transcode RED camera native (R3D) media to QuickTime (ProResHQ 4444 - ProResSQ), DPX, TIFF, and Avid DNx
• DVD Dailies with scene chapter points based on a conversion of the FLEx file to a marker list via a custom Perl script
• Transfer data - FCP or Avid media, raw Quicktime files, etc. - via FTP and/or Aspera to secure locations of movie studios and TV networks.

DATA
RED: Load/process/develop (equivalent of lab + one light color) RED camera raw (native R3D) files to QuickTime, Avid DNx, TIFF, DPX in 1.25:1 real time to e-Sata drives.

• Choice of ColorSpace & Gamma available during transcode.

• Choice of ColorSpace & Gamma during transcode.

DATA NETWORKING
We offer 3 different ways for clients to download and review their media: