DIGITAL WORKFLOW The Essential Reference Guide for Filmmakers
WHAT IS A DIGITAL INTERMEDIATE?
COMPARING DI TO THE TRADITIONAL LAB TraditionalDI ConformingUse a film cut list or EDLEliminated Visual EffectsPrinted onto film, then cut and matched to the rest of the film Created at a workstation then seamlessly integrated Color Timing/Color Correction Primary colors adjusted, usually several times Individual colors and objects can be selected and reviewed real time OutputMaster positive, then duplicate negative, then release print The final digital intermediate is used to render a digital master
BENEFITS OF DI
DI process is non-linear A DI is a series of digital files that can be sorted, indexed, tagged, viewed and manipulated in any order This allows you to access any point in the project quickly and easily
BENEFITS OF DI Full editorial control Auto-conform from an updated EDL Make manual edits to the DI by duplicating, moving, replacing or removing frames Adjust the timing of cuts and transitions Last minute changes are possible due to the flexibility
BENEFITS OF DI Digital color grading Provides unprecedented control over your work o Creating a look or mood o Manipulating colors and objects in a scene o Painting, retouching and fixing images o Emulating lighting o Emulating camera filters and lab processing techniques
BENEFITS OF DI Computer-generated effects Better interchangeability with computer-generated material Effects shots can be fed into the DI pipeline at various stages for feedback and approval The completed files are color graded and integrated into the DI
BENEFITS OF DI Visual effects and transitions Wipes, fades and dissolves Cropping, resizing and repositioning images Freeze-frames Titles and text
BENEFITS OF DI Image restoration and repair Scratch and dirt removal Digital painting and retouching Image sharpening and blurring Reduction or increase in grain
BENEFITS OF DI Instant feedback The DI environment is interactive Ability to view changes as they are made Instant feedback provides greater freedom
BENEFITS OF DI Preserve the original camera negative The DI helps to protect the original negative The neg only has to be scanned once The intact, uncut original negative can be archived
POST HOUSE CONTACTS Account Executive / Bidding Producer Producer / Scheduler Post-Production Supervisor / Digital Effects Supervisor Editor Colorist
POST HOUSE CONTACTS Account Executive / Bidding Producer Producer / Scheduler Post-Production Supervisor / Digital Effects Supervisor Editor Colorist
POST HOUSE CONTACTS Account Executive / Bidding Producer Producer / Scheduler Post-Production Supervisor / Digital Effects Supervisor Editor Colorist
POST HOUSE CONTACTS Account Executive / Bidding Producer Producer / Scheduler Post-production Supervisor / Digital Effects Supervisor Editor Colorist
POST HOUSE CONTACTS Account Executive / Bidding Producer Producer / Scheduler Post-Production Supervisor / Digital Effects Supervisor Editor Colorist
INPUT: DATA TRANSFER
INPUT: DIGITIZATION
FILM SCANNING
RGB COLOR SPACE
COLOR CHANNELS
SCAN RESOLUTION
SCAN RESOLUTION CONSIDERATIONS Some considerations when deciding on scan resolutions are: The principal output medium The look of the production Budget The most popular scan resolutions are 2K and 4K. 2K = 2048 pixels wide, 12MB 4K = 4096 pixels wide, 48MB
DYNAMIC RANGE
DPX Files
COLOR MANAGEMENT Two main goals All displays must provide consistent color What is seen on the displays is faithfully reproduced at final output
CALIBRATION Each device in post-production must be calibrated to ensure that all devices display the same image: Film Scanners Monitors Digital Projectors Film Recorder Calibration
LOOK-UP TABLES Look-up tables (LUTs) are used to adjust and accurately display the target output. 1-Dimensional Lookup Table 3-Dimensional Lookup table LUTs provide feedback in real time and are used to implement: Calibration corrections Color corrections Specific looks Color space conversions
IMAGE PROCESSING
Editing Digital Effects Color Correction Dust Busting Sound Editing Conforming Digital Retouching Color Grading Masks Metadata Special Effects Computer Generated Material Film Recording Video Mastering Film Recording Video Mastering
IMAGE PROCESSING Editing Digital Effects Color Correction Dust Busting Sound Editing Conforming Digital Retouching Color Grading Masks Metadata Special Effects Computer Generated Material Film Recording Video Mastering
IMAGE PROCESSING Editing Digital Effects Color Correction Dust Busting Sound Editing Conforming Digital Retouching Color Grading Masks Metadata Special Effects Computer Generated Material Film Recording Video Mastering
IMAGE PROCESSING Editing Digital Effects Color Correction Dust Busting Sound Editing Conforming Digital Retouching Color Grading Masks Metadata Special Effects Computer Generated Material Film Recording Video Mastering
IMAGE PROCESSING Editing Digital Effects Color Correction Dust Busting Sound Editing Conforming Digital Retouching Color Grading Masks Metadata Special Effects Computer Generated Material Film Recording Video Mastering
IMAGE PROCESSING Editing Digital Effects Color Correction Dust Busting Sound Editing Conforming Digital Retouching Color Grading Masks Metadata Special Effects Computer Generated Material Film Recording Video Mastering
IMAGE PROCESSING Editing Digital Effects Color Correction Dust Busting Sound Editing Conforming Digital Retouching Color Grading Masks Metadata Special Effects Computer Generated Material Film Recording Video Mastering
IMAGE PROCESSING Editing Digital Effects Color Correction Dust Busting Sound Editing Conforming Digital Retouching Color Grading Masks Metadata Special Effects Computer Generated Material Film Recording Video Mastering
IMAGE PROCESSING Editing Digital Effects Color Correction Dust Busting Sound Editing Conforming Digital Retouching Color Grading Masks Metadata Special Effects Computer Generated Material Film Recording Video Mastering
IMAGE PROCESSING Editing Digital Effects Color Correction Dust Busting Sound Editing Conforming Digital Retouching Color Grading Masks Metadata Special Effects Computer Generated Material Film Recording Video Mastering
IMAGE PROCESSING Editing Digital Effects Color Correction Dust Busting Sound Editing Conforming Digital Retouching Color Grading Masks Metadata Special Effects Computer Generated Material Film Recording Video Mastering
IMAGE PROCESSING Editing Digital Effects Color Correction Dust Busting Sound Editing Conforming Digital Retouching Color Grading Masks Metadata Special Effects Computer Generated Material Film Recording Video Mastering
IMAGE PROCESSING Editing Digital Effects Color Correction Dust Busting Sound Editing Conforming Digital Retouching Color Grading Masks Metadata Special Effects Computer Generated Material Film Recording Video Mastering
IMAGE PROCESSING Editing Digital Effects Color Correction Dust Busting Sound Editing Conforming Digital Retouching Color Grading Masks Metadata Special Effects Computer Generated Material Film Recording Video Mastering
OUTPUT Digital Master Video Output Film Output Digital Cinema
DIGITAL MASTER Film for release printing Digital cinema HD SD Blu-Ray DVD Content for the Web
VIDEO OUTPUT Frame Rate Color Space Aspect Ratio
ASPECT RATIO
FILM OUTPUT
DIGITAL CINEMA
CONCLUSION QUESTIONS?