Digital Intermediates for Film and Video

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Taylor & Francis, 2006 - Performing Arts - 560 pages
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The Digital Intermediate process (DI), or conversion of film to digital bits and then back to film again, has great potential to revolutionize the postproduction process. The skill set to photochemically process a movie and pop it into a canister for the postal service to send around to all of the movie houses and the skill set to digitally master and create a file that is distributed globally via the Internet and satellites are completely different. One of these entirely new processes is that of the digital intermediate. The DI has tremendous advantages, ranging from improved quality (first "print" is as good as the last) to cost savings (no re-mastering) to digital distribution (bits and bytes: no film in canisters). The DI influences everything from on set production to the delivery of content to consumers and everything in between.

Digital Intermediates for Film and Video teaches the fundamental concepts and workflow of the digital intermediate process. Covers basics of film first, and then introduces the digital world--including a tutorial on digital images, asset management, online editing, color correction, restoration, film and video output, mastering and quality control.

Jack's clear and easy-to-follow explainiation of Hollywood buzz words and components facilitates the spill over to anyone who has a vested interest in the quality and cost of the movie.

* The first broadcast-quality digital intermediate process was made only three years ago--25% of all films made in 2004 will go through the process--and this is the first book about the process!
* Author's work on HBO's Band of Brothers established the industry standard
* Book assumes no digital production knowledge--packed with jargon busters and "ready reference" charts
  

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Contents

1 The Digital Intermediate Paradigm
1
2 Video
21
3 Photographic Film
45
4 Digital Media
63
5 Acquisition
89
6 Asset Management
143
7 Conforming
211
8 Color Grading
265
11 Output
391
12 Quality Control
427
13 The Future of Digital Film
455
14 Virtual Cinematography
475
Appendix
499
Glossary
517
Acknowledgments
537
Index
539

9 Retouching and Restoration
325
10 Digital Effects and Titles
365
Color Plates Section
561
Copyright

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About the author (2006)

After working for some time in the field of computer animation, Jack went to work for Kodak's brand-new Cinesite Digital Lab. It was the first of its kind anywhere in the world, the aim being to reproduce all laboratory processes in the digital domain. It remains one of the leading post-production houses that uses digital intermediates. While at Cinesite, Jack worked on HBO's "Band of Brothers," which incorporated 10 hours of finished film, all to be scanned, edited and finished digitally. He was a member of the team that established and designed procedures and protocols which later became industry-standard. His core expertise is in establishing workflows of data management, film restoration, and conforming (making sure the final edit matches exactly what the editor of a film has cut--procedures which have widely been adopted elsewhere. Since leaving Cinesite, Jack has worked on the digital intermediates of many feature films including Miramax's "Cold Mountain.

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