1. DIGITAL WORKFLOW The Essential Reference Guide for Filmmakers

2. WHAT IS A DIGITAL INTERMEDIATE?

3. 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

4. BENEFITS OF DI

5. 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

6. 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

7. 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

8. 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

9. BENEFITS OF DI Visual effects and transitions Wipes, fades and dissolves Cropping, resizing and repositioning images Freeze-frames Titles and text

10. BENEFITS OF DI Image restoration and repair Scratch and dirt removal Digital painting and retouching Image sharpening and blurring Reduction or increase in grain

11. BENEFITS OF DI Instant feedback The DI environment is interactive Ability to view changes as they are made Instant feedback provides greater freedom

12. 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

13. POST HOUSE CONTACTS Account Executive / Bidding Producer Producer / Scheduler Post-Production Supervisor / Digital Effects Supervisor Editor Colorist

14. POST HOUSE CONTACTS Account Executive / Bidding Producer Producer / Scheduler Post-Production Supervisor / Digital Effects Supervisor Editor Colorist

15. POST HOUSE CONTACTS Account Executive / Bidding Producer Producer / Scheduler Post-Production Supervisor / Digital Effects Supervisor Editor Colorist

16. POST HOUSE CONTACTS Account Executive / Bidding Producer Producer / Scheduler Post-production Supervisor / Digital Effects Supervisor Editor Colorist

17. POST HOUSE CONTACTS Account Executive / Bidding Producer Producer / Scheduler Post-Production Supervisor / Digital Effects Supervisor Editor Colorist

18. INPUT: DATA TRANSFER

19. INPUT: DIGITIZATION

20. FILM SCANNING

21. RGB COLOR SPACE

22. COLOR CHANNELS

23. SCAN RESOLUTION

24. 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

25. DYNAMIC RANGE

26. DPX Files

27. COLOR MANAGEMENT Two main goals All displays must provide consistent color What is seen on the displays is faithfully reproduced at final output

28. 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

29. 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

30. IMAGE PROCESSING

31. 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

32. 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

33. 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

34. 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

35. 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

36. 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

37. 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

38. 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

39. 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

40. 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

41. 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

42. 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

43. 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

44. 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

45. OUTPUT Digital Master Video Output Film Output Digital Cinema

46. DIGITAL MASTER Film for release printing Digital cinema HD SD Blu-Ray DVD Content for the Web

47. VIDEO OUTPUT Frame Rate Color Space Aspect Ratio

48. ASPECT RATIO

49. FILM OUTPUT

50. DIGITAL CINEMA

51. CONCLUSION QUESTIONS?