 | This article needs attention from an expert in Film. The specific problem is: this article needs to be rewritten to be up to date. The DI industry is now focused largely on the digital-to-digital mastering process..(October 2013) |
Digital intermediate (DI) is a motion picture finishing process which classically involves digitizing a motion picture and manipulating the color and other image characteristics.
A digital intermediate 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.[ citation needed ]
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.
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 original camera negative (OCN).[ citation needed ]
One of the key technical achievements that made the transition to DI possible was the use of 3D look-up tables, 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 guesswork from the film-making process, and allowed greater freedom in the colour grading process while reducing risk.[ citation needed ]
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 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.[ citation needed ]
A "film intermediate" is an analog variation of a digital intermediate, where a project shot on digital video is printed onto film stock and transferred back to digital video to emulate film. The term was coined after it was used on the Oscar-winning 2012 short film "Curfew". [1] The process was also used on the films Dune (2021) and The Batman (2022). [2] [3]
Telecine tools to electronically capture film images are nearly as old as broadcast television, but the resulting images were widely considered unsuitable for exposing back onto film for theatrical distribution. Film scanners and recorders with quality sufficient to produce images that could be inter-cut with regular film began appearing in the 1970s, with significant improvements in the late 1980s and early 1990s. During this time, digitally processing an entire feature-length film was impractical because the scanners and recorders were extremely slow and the image files were too large compared to computing power available. Instead, individual shots or short sequences were processed for visual effects.
In 1992, Visual Effects Supervisor/Producer Chris F. Woods broke through several "techno-barriers" in creating a digital studio to produce the visual effects for the 1993 release Super Mario Bros. It was the first feature film project to digitally scan a large number of VFX plates (over 700) at 2K resolution. It was also the first film scanned and recorded at Kodak's just launched Cinesite facility in Hollywood. This project based studio was the first feature film to use Discreet Logic's (now Autodesk) Flame and Inferno systems, which enjoyed early dominance as high resolution / high performance digital compositing systems.
Digital film compositing for visual effects was immediately embraced, while optical printer use for VFX declined just as quickly. Chris Watts further revolutionized the process on the 1998 feature film Pleasantville , becoming the first visual effects supervisor for New Line Cinema to scan, process, and record the majority of a feature-length, live-action, Hollywood film digitally. The first Hollywood film to utilize a digital intermediate process from beginning to end was O Brother, Where Art Thou? in 2000 and in Europe it was Chicken Run released that same year.[ citation needed ]
The process rapidly caught on in the mid-2000s. Around 50% of Hollywood films went through a digital intermediate in 2005, increasing to around 70% by mid-2007. [4] This is due not only to the extra creative options the process affords film makers but also the need for high-quality scanning and color adjustments to produce movies for digital cinema.[ citation needed ]
Digital cinema refers to the adoption of digital technology within the film industry to distribute or project motion pictures as opposed to the historical use of reels of motion picture film, such as 35 mm film. Whereas film reels have to be shipped to movie theaters, a digital movie can be distributed to cinemas in a number of ways: over the Internet or dedicated satellite links, or by sending hard drives or optical discs such as Blu-ray discs.
Telecine is the process of transferring film into video and is performed in a color suite. The term is also used to refer to the equipment used in this post-production process.
EFILM Digital Laboratories, founded in 1989, is a company serving the motion picture and television industry. Their clients include film studios, independent filmmakers, advertisers, animators, visual effects companies, and large-format filmmakers. EFILM is part of Deluxe Entertainment Services Group, a group of facilities that includes Beast, Company 3, Method Studios, and Rushes.
Color grading is a post-production process common to filmmaking and video editing of altering the appearance of an image for presentation in different environments on different devices. Various attributes of an image such as contrast, color, saturation, detail, black level, and white balance may be enhanced whether for motion pictures, videos, or still images. Color grading and color correction are often used synonymously as terms for this process and can include the generation of artistic color effects through creative blending and compositing of different layer masks of the source image. Color grading is generally now performed in a digital process either in a controlled environment such as a color suite, and is usually done in a dim or dark environment.
A film recorder is a graphical output device for transferring images to photographic film from a digital source. In a typical film recorder, an image is passed from a host computer to a mechanism to expose film through a variety of methods, historically by direct photography of a high-resolution cathode ray tube (CRT) display. The exposed film can then be developed using conventional developing techniques, and displayed with a slide or motion picture projector. The use of film recorders predates the current use of digital projectors, which eliminate the time and cost involved in the intermediate step of transferring computer images to film stock, instead directly displaying the image signal from a computer. Motion picture film scanners are the opposite of film recorders, copying content from film stock to a computer system. Film recorders can be thought of as modern versions of Kinescopes.
Negative pulldown is the manner in which an image is exposed on a film stock, described by the number of film perforations spanned by an individual frame. It can also describe whether the image captured on the negative is oriented horizontally or vertically. Changing the number of exposed perforations allows a cinematographer to change both the aspect ratio of the image and the size of the area on the film stock that the image occupies.
Film-out is the process in the computer graphics, video production and filmmaking disciplines of transferring images or animation from videotape or digital files to a traditional film print. Film-out is a broad term that encompasses the conversion of frame rates, color correction, as well as the actual printing, also called scannior recording.
The Cineon System was one of the first computer based digital film systems, created by Kodak in the early 1990s. It was an integrated suite of components consisting a Motion picture film scanner, a film recorder and workstation hardware with software for compositing, visual effects, image restoration and color management.
The Dalsa Origin was the first camera designed and built by Dalsa Corporation to be used specifically for digital cinematography.
In filmmaking, dailies or rushes are the raw, unedited footage shot during the making of a motion picture. The term "dailies" comes from when movies were all shot on film because usually at the end of each day, the footage was developed, synced to sound, and printed on film in a batch for viewing the next day by the director, selected actors, and film crew members. After the advent of digital filmmaking, "dailies" were available instantly after the take and the review process was no longer tied to the overnight processing of film and became more asynchronous. Now some reviewing may be done at the shoot, even on location, and raw footage may be immediately sent electronically to anyone in the world who needs to review the takes. For example, a director can review takes from a second unit while the crew is still on location or producers can get timely updates while travelling. Dailies serve as an indication of how the filming and the actors' performances are progressing. The term was also used to describe film dailies as "the first positive prints made by the laboratory from the negative photographed on the previous day".
Digital cinematography is the process of capturing (recording) a motion picture using digital image sensors rather than through film stock. As digital technology has improved in recent years, this practice has become dominant. Since the mid-2010s, most movies across the world are captured as well as distributed digitally.
A motion picture film scanner is a device used in digital filmmaking to scan original film for storage as high-resolution digital intermediate files.
Cintel was a British digital cinema company founded in 1927 by John Logie Baird and based in Ware, Hertfordshire. The early company was called Cinema Television Ltd. Cinema Television was sold to J Arthur Rank Organization renamed Rank Cintel in 1958. It specialized in the design and manufacture of professional post-production equipment, for transcribing film into video or data formats. It was formerly part of the Rank Organisation. Along with a line of telecines, Rank Cintel made 3 tube RGB color video projectors in the 1960s.
The Fernseh AG television company was registered in Berlin on July 3, 1929, by John Logie Baird, Robert Bosch, Zeiss Ikon and D.S. Loewe as partners. John Baird owned Baird Television Ltd. in London, Zeiss Ikon was a camera company in Dresden, D.S. Loewe owned a company in Berlin and Robert Bosch owned a company, Robert Bosch GmbH, in Stuttgart. with an initial capital of 100,000 Reichsmark. Fernseh AG did research and manufacturing of television equipment.
A virtual telecine is a piece of video equipment that can play back data files in real time. The colorist-video operator controls the virtual telecine like a normal telecine, although without controls like focus and framing. The data files can be from a Spirit DataCine, motion picture film scanner, CGI animation computer, or an Acquisition professional video camera. The normal input data file standard is DPX. The output of data files are often used in digital intermediate post-production using a film recorder for film-out. The control room for the virtual telecine is called the color suite.
Television standards conversion is the process of changing a television transmission or recording from one video system to another. Converting video between different numbers of lines, frame rates, and color models in video pictures is a complex technical problem. However, the international exchange of television programming makes standards conversion necessary so that video may be viewed in another nation with a differing standard. Typically video is fed into video standards converter which produces a copy according to a different video standard. One of the most common conversions is between the NTSC and PAL standards.
A color suite is the control room for color grading video in a post-production environment.
Spirit DataCine is a telecine and a motion picture film scanner. This device is able to transfer 16mm and 35mm motion picture film to NTSC or PAL television standards or one of many High-definition television standards. With the data transfer option a Spirit DataCine can output DPX data files. The image pick up device is a solid state charge-coupled device. This eliminated the need for glass vacuum tube CRTs used on older telecines. The units can transfer negative film, primetime, intermediate film and print film, stock. One option is a Super 8 gate for the transfer of Super 8 mm film. With a sound pick up option, optical 16mm and 35mm sound can be reproduced, also 16mm magnetic strip sound. The unit can operate stand alone or be controlled by a scene by scene color corrector. Ken Burns created The Civil War, a short documentary film included in the DVD release, on how he used the Spirit DataCine to transfer and remaster this film. The operator of the unit is called a Colorist or Colorist Assistant. The Spirit DataCine has become the standard for high-end real-time film transfer and scanning. Over 370 units are used in post-production facilities around the world. Most current film productions are transferred on Spirit DataCines for Television, Digital television, Cable television, Satellite television, Direct-to-video, DVD, Blu-ray Disc, pay-per-view, In-flight entertainment, Stock footage, Dailies, Film preservation, digital intermediate and digital cinema. The Spirit DataCine is made by DFT Digital Film Technology GmbH in Darmstadt, Germany.
Pandora International is a maker of hardware and software systems for video editing, Telecine Control and Colour Correction. Pandora was founded in 1985 By Steve Brett and Martin Greenwood, later Aine Marsland joined the team and took over the administration of the company. Pandora International devices are able to colour-correct video and 16 mm and 35 mm motion picture film in real time. Pandora International is based in Greenhithe, Kent, England.
Test film are rolls or loops or slides of photographic film used for testing the quality of equipment. Equipment to be tested could include: telecine, motion picture film scanner, Movie projectors, Image scanners, film-out gear, Film recorders and Film scanners.