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 • 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.