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Digital Workflow Digital Workflow DIGITAL WORKFLOW DIGITAL WORKFLOW A new paradigm is taking shape in filmmaking—a significant shift from the use of just film, or analog tools, to the use of digital tools—allowing filmmakers everywhere to explore creative options with great success and relative ease. The post-production phase of filmmaking has changed significantly with the advent of the digital intermediate (DI) process. The traditional workflow has been completely transformed through advancements in film scanning and computer technology. Digital processes in post-production are replacing traditional photochemical steps such as negative cutting, color timing, printing, and optical eFects. Here is an example of a simplified digital workflow: convert your film footage to video using the telecine process to professional formats like 3/4, Beta SP, Digital Beta, HD, and DVCAM and store the video files on your computer. Convert telecine dailies from 29.97 to 24 fps using the reverse telecine feature. This allows the editor to edit at true 24 fps, establishing a one-to-one correspondence between the video frames and the film frames. You can edit your project quickly and easily using the real-time architecture and non-destructive editing features of a software program like APPLE Final Cut Pro. When editing is finished a film cut list is created to conform the original camera negative. This allows the negative cutter to use the film list and the edited video as a guide to conform the original negative to match the edited digital project. Release prints are created from the conformed negative. DIGITAL INTERMEDIATE With the wide array of digital post-production techniques and tools available, it is best to assemble your post- production team before you shoot. Their ideas, presented early in the filmmaking process, provide valuable insight, influence various aspects of your production, and help you price out options. A post house can review your project and provide a breakdown of post-production costs, and can also help establish the best workflow. What is a Digital Intermediate? The three main stages in the DI process are: • Input: During the input stage, or acquisition, the processed camera negative is scanned using a high- resolution film scanner. The scanner digitizes each frame of film and converts the film images to a series of digital files. • Image Processing: Once the film has been scanned, conforming, color correction, creation of special looks, and addition of special eFects are all performed digitally in the image processing stage. • Output: The edited digital files are used to render a digital master, which is recorded out to film using a film recorder or used to render a variety of electronic formats. 167 DIGITAL WORKFLOW The term digital intermediate (DI) is often misunderstood. A digital intermediate is simply a project in its digital state during the image processing stage. Digital Intermediate, therefore, refers to the digital data’s transitional nature—a state between the input stage and final delivery. Traditional Lab and DI Comparison The digital intermediate process can encompass the whole post-production stage of filmmaking. It can replace a lab and optical finishing workflow by using digital processes to conform, integrate eFects, color grade, and prepare the project for final delivery. Conforming In a lab and optical finishing workflow, the negative cutter uses a film cut list or an edit decision list (EDL) to cut the original camera negative, place shots in the edited order, and splice them together to produce a conformed negative. In a digital post-production workflow, negative cutting is eliminated. Rolls of original camera negative are delivered to the post-production house, and only the select shots in the final edit are scanned. Once scanning is complete, the EDL is used to auto-conform the digital intermediate. In this process, the original camera negative is scanned only once and remains intact. Visual E&ects In a lab and optical finishing workflow, computer-generated eFects shots are printed to film, then cut, and matched with the rest of the film frames. Other eFects or transitions, such as fades and cross dissolves, are produced optically during the printing process. In digital post-production, complex eFects are created at a computer workstation and are seamlessly integrated with the rest of the files in the digital intermediate. All transitions, such as fades and cross dissolves, are also produced digitally. The duration of transitions can easily be changed and reviewed almost instantly. Color Timing/Color Correction In a lab and optical finishing workflow, the color timer uses a color analyzer to look at and adjust the colors of every scene in the movie. The color timer can perform only primary color correction by adjusting the overall color balance of the three primary colors: red, green, and blue. Usually, a number of answer prints are made to view results and gain full approval of color timing adjustments. In a digital post-production workflow, a colorist performs primary and secondary color correction digitally. In secondary color correction, specific colors and objects in the scene can be selected and manipulated without 168 DIGITAL WORKFLOW aFecting the overall color balance of the scene. Adjustments can be tested and viewed in real time. Digital color correction, applied to an entire film, has given filmmakers great creative control and flexibility. Output In a traditional lab and optical finishing workflow, the finished film goes through the printing process to create release prints. After timing for color and density is approved, a master positive is printed from the original negative by exposing it onto color intermediate film. All color-timing corrections approved by the filmmaker are applied during the printing of the master positive. Next, the master positive is printed onto intermediate film a second time to create one or more duplicate negatives. Then release prints are made from the duplicate negative. For finished films exhibited in theaters, the master positive is usually used for transfer to electronic formats. In digital post-production, the final digital intermediate is used to render a digital master. The digital master is recorded directly out to film to create prints or an internegative for release printing or to output a variety of electronic formats including digital cinema, SD, HD, and DVD. Benefits of DI The Digital Intermediate process oFers flexibility and creative control. The DI process allows digital color grading, visual eFects, and digital mastering in a collaborative and interactive environment. The DI process is also format independent—you can input various formats including film, video, digital media, and computer-generated material. Then, after image processing, any number of formats can be created from the digital intermediate. Therefore, a project captured on film can be output to any number of electronic formats. A project captured electronically can be output to film, although quality can be compromised. Or a project can contain any number of sources. Filmmakers use the DI process to mix media and experiment with diFerent sources. DI Process is Non-linear The digital intermediate is a series of digital files that can be sorted, indexed, tagged, viewed, and manipulated in any order. This lets you jump to any point in the project and work in any order. You can also change the order of scenes or instantly view any two shots in the production to check visual continuity. 169 DIGITAL WORKFLOW Full Editorial Control The digital intermediate process allows the filmmaker to have full editorial control, including the ability to: • 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 This level of flexibility makes last-minute changes possible and reduces the costs incurred in a traditional, post- production workflow. Digital Color Grading The ability to apply digital color grading provides you with unprecedented control over your work, such as: • Creating a look or mood • Manipulating individual colors and objects in a scene • Painting, retouching, and fixing images • Emulating lighting • Emulating camera filters and lab processing techniques Computer-generated E2ects The digital intermediate process provides better interchangeability with computer-generated material. EFects shots can be fed into the digital intermediate pipeline at various stages for feedback and approval. When finished, the files containing special eFects are color-graded and integrated into the digital intermediate. Visual E2ects and Transitions In a digital post-production workflow, many traditional optical eFects can be completed digitally. Some include: • Transitions such as wipes, fades, and dissolves • Cropping, resizing, and repositioning of images • Freeze-frames • Titles and text Image Restoration and Repair There are also many techniques to repair imperfections that include: • Scratch and dust removal • Digital painting and retouching 170 DIGITAL WORKFLOW • Image sharpening and blurring • Reduction or increase in grain Instant Feedback The DI environment is interactive and provides the ability to view changes as they are made. One example is digital color grading. The colorist and filmmaker can adjust the colors and view the changes instantly on an electronic display. Instant feedback gives filmmakers more freedom to collaborate, experiment, and respond immediately to changes. Preserve the Original Camera Negative The digital intermediate process also helps protect the original camera negative. The negative has to be scanned only once, and then the project files are conformed digitally. The intact, uncut original camera negative can be archived. Post House Contacts It is important to know the contacts in a post-production facility and establish clear communication. Account Executive/Bidding Producer The account executive (AE) is responsible for your project’s contract and financial arrangements for the duration of your project. Initially, the AE provides bid information in collaboration with a post-production supervisor and/or digital eFects supervisor. Producer /Scheduler The producer or scheduler is your main contact within the post-production facility.
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