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Ne w s inesite, a Kodak Company, has entered the digital mastering Carena. A new service organization will provide feature fi l m m a k ers with additional creative flexibility in digital po s t p r o d u c t i o n ‘Way of the future’ suites and enhanced image quality on cinema screens. “W e believe digital intermediate is the way of the future for narrative filmmaking,” says enters digital Fred Franzwa, Ci n e s i t e general manager, Kodak Digital Mastering, Preservation and Restoration Services. “It combines the best of two worlds. The magic of film in its ability to capture and render rich and subtle details in contrast, colors and resolution, is incomparable for mastering arena image capture and projection. We are providing flexible gateways for “. we believe of Motion Picture Arts and Sciences Images can be sharpened, digitizing film images for color-timing during the 1999 technical Aca d e m y de-grained, re-grained, and and look creation, and for recording it will Awards ceremonies for developing the the intermediate back onto a high- laser film recording technology and augmented quality color intermediate film as a me a s u r a b l y bringing it to the market p l a c e . printing master.” en h a n c e “This is the logical step in the The Philips Spirit DataCine is Franzwa notes that the digital evolution of motion picture format- and resolution-independent. intermediate would also provide a picture quality te c h n o l o g y ,” says Franzwa continuing: It can be used to convert film images single source for releasing motion in cinemas” “W e have assembled the elements of an to TV resolution video formats or pictures in all video formats, including enabling technology, which will give 2K/data files. Franzwa notes that HD T V , DTV, DVD and the more narrative filmmakers the same artistic during this process, images can be conventional television formats used options that are available to them sharpened, de-grained, re-grained, and in different areas of the world. when they work on commercials. And augmented in various other ways The new service facility is they can do this without compromising formerly reserved for visual effects headquartered at the Kodak Hollywood the integrity of the original image shots. Ce n t e r , in Los Angeles, where Franzwa quality on the cinema screen. In fact, Franzwa says that director Gary has assembled a team, which includes we believe it will measurably enhance Ross's 1998 comic fantasy Glenn Kennel and Sarah Priestnall, picture quality in cinemas.” Pl e a s a n t v i l l e set the stage for this next two of the industry’s film-digital Franzwa points out that the step in the evolution of imaging convergence technology experts. DataCine colorist, in collaboration with te c h n o l o g y . The film was digitized the filmmaker , has the ability to dial in with most colors desaturated and Extending the creative selective color corrections or change others augmented, creating a classic flexibility available to densities from the head to tail of a black-and-white look. Proprietary filmmakers single shot, or slightly re-compose the software was developed to isolate shot by enlarging it a field or two. people and objects and either add or “One of our goals is to provide Many music videos and commercials remove color as required by the story. cinematographers, directors and other have been shot in black-and-white and “It was a great collaborative people involved in the collaborative entirely colorized in post to allow total process,” says Franzwa. “Cinesite was process of filmmaking with the same control of the color palette after the responsible for providing the creative flexibility they enjoy in the shoot. conversion technologies, and Deluxe telecine suite when they work on “Many wonderful tools exist that can Labs did a great job with the release commercials and narrative TV ma k e film do things it couldn't do prints. We believe future filmmaker s content,” says Franzwa. “All elements before," says Franzwa. “Until now, will give Gary Ross and his creative of the original negative that can be these tools weren't accessible to people team much credit for their vision in used in the final cut will be digitized who were finishing on film. The seeing how this convergence of film using a Philips Spirit DataCine.” possibilities are unlimited. For and digital imaging technologies could Franzwa notes that Kodak earned example, we can do shot-to-shot color advance their art form in a way that two Emmys in 1998 for developing corrections in real-time, and record a made good business sense.” and manufacturing the imaging head ‘pre-timed’ master onto color and other digital technology for the intermediate film. This process could For more information about Kodak digital mastering, preservation and restoration services DataCine. eliminate the trial and error involved visit the Cinesite website at www.cinesite.com The gateway for transferring the in making answer prints, because the digital master onto film is the Kodak color correction decisions can be made (The Spirit DataCine is a trademark of the Lightning laser film recorder. Kodak in t e r a c t i v e l y . This extends the creative Philips Broadcast Television Systems received a plaque from the Aca d e m y flexibility available to filmmaker s . ” Company.) APRIL 1999 in ca m e r a 21.

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