EBU Tech 3297-2004 35Mm High-Resolution Test Film for Telecines

Total Page:16

File Type:pdf, Size:1020Kb

EBU Tech 3297-2004 35Mm High-Resolution Test Film for Telecines EBU Tech 3297-E 35 mm High Resolution Test Film for the assessment of telecines and scanners May 2004 EBU UER european broadcasting union Geneva EBU Technical Documents can be downloaded from www.ebu.ch EBU – 35 mm High Resolution Test Film for the assessment of telecines and scanners Tech 3297 May 2004 Key words: Film, telecine, scanner, resolution Details of where to obtain samples of the test film are given at the end of this document. The EBU High-Resolution 35 mm Test Film The EBU has been investigating the performance of modern telecines and scanners with a view to recommending design parameters for future machines. In the course of measuring the resolution of machines it became evident that a test film was required that contained sufficient high frequency detail to challenge the resolution capabilities of current telecines and scanners. As no such film was known to be available, a group of experts designed a high-resolution target and a limited run was produced on a 35 mm monochrome film stock with a 125 mm polyester base. Figure 1 is an illustration of a frame of the test film. Please note that no meaningful measurements can be made from this figure, as its printed resolution is too poor. Test Film Resolution The test film is not intended for use in standard definition television. Note that just 10 line-pairs1 per millimetre (lp/mm) distributed across the 24.92 mm width of a frame of super 35 mm film scanned at standard 625-line television rate would equate to: 10´24.92mm = 4.79MHz 52ms This is very close to the 5.5 MHz upper limit of PAL System I television. So-called 4k scanners have 4096 elements distributed across 24.92 mm – the width of a frame of super 35 mm film. Simple arithmetic equates this to 82 lp/mm. Even ignoring Nyquist criteria, it would be impossible for a 4k scanner to cope with this resolution as the scanning elements would have to line up precisely with the film image, which would not happen in practice. In order to resolve 100 lp/mm across a frame of super 35 mm film, a scanner would need to be capable of 6k (6144 scanning elements) resolution. Image Calibrations The test film is designed around the SMPTE style 'C' aperture (24·92 mm x 18·67 mm). Ruler markings are included, as are calibrations for EBU recommended scanning areas for both 4:3 and 16:9 aspect ratios. The centre resolution patches are 10, 20, 30, 40, 50, 60, 70, 80, 90, & 100 lp/mm. This is effectively a calibrated frequency sweep. An important requirement of the test film is to highlight shortcomings in anti-aliasing filtering. A block of test patches with 35, 40 & 45 lp/mm is included to investigate responses around the 41.1 lp/mm Nyquist limit for 2k scanning. A similar facility is available for 4k scanning by using the 70, 80 & 90 lp/mm sections of the main sweep. Lower frequencies are placed in the corners of the target. This is because practical lenses are not at their best at these extremities. Measurements were made on the initial batch of test film. The results are shown in Table 1, referring to the numbered cells in Figure 2. 1 A line pair corresponds to a black element followed by a white (or clear) element on the surface of the film. 2 EBU – 35 mm High Resolution Test Film for the assessment of telecines and scanners Tech 3297 May 2004 Table 1 Box No Resolution Amplitude % Box No Resolution Amplitude % Box No Resolution Amplitude % lp/mm lp/mm lp/mm 1 10 80 21 50 85 41 60 50 2 25 75 22 60 65 42 60 70 3 60 40 23 70 50 43 60 75 4 60 65 24 80 50 44 25 95 5 60 40 25 90 50 45 10 100 6 25 80 26 100 40 46 10 85 7 10 95 27 35 90 47 25 80 8 10 90 28 40 90 48 60 40 9 25 85 29 45 85 49 60 70 10 60 50 30 10 100 50 60 50 11 60 75 31 20 95 51 25 90 12 60 50 32 30 95 52 10 90 13 25 90 33 50 80 14 10 100 34 70 50 15 25 85 35 90 40 16 60 55 36 100 30 17 10 100 37 60 70 18 20 95 38 25 95 19 30 95 39 10 100 20 40 95 40 25 85 Note that resolution measurements are listed with respect to peak-peak level at 10 lp/mm. Compared to this, the black/white reference boxes in the centre of frame have a pk-pk value of 110%. It is probable that flare in various parts of the production chain is responsible for this. In addition, the manufacturer’s data sheet shows a maximum of 90% for all frequencies used in this test film. However, the pk-pk values for each line pair patch are still valid as they were measured individually. The following photographs, taken from the top of a microscope, show the 10 and 100 line pair patches on the test film respectively. Test Film Samples The EBU has a limited number of film samples that can be made available to EBU members and their associates. These will be distributed on a first-come first-served basis. Please contact [email protected]. Film samples or longer lengths, together with the conditions of purchase, may be obtained from: R.H. Testfilms 27 Carpenters Wood Drive, Chorleywood, Hertfordshire, WD3 5RN, United Kingdom email: [email protected] 3 EBU – 35 mm High Resolution Test Film for the assessment of telecines and scanners Tech 3297 May 2004 Figure 1: High Resolution Test Film Target 4 EBU – 35 mm High Resolution Test Film for the assessment of telecines and scanners Tech 3297 May 2004 Figure 2: Annotated Test Film Target 5.
Recommended publications
  • CATV in Central Appalachia: a Feasibility Study. INSTITUTION Morehead State Univ., Ky
    DOCUMENT RESUME ED 053 380 AC 010 563 AUTHOR Marchese, Lamar TITLE CATV in Central Appalachia: A Feasibility Study. INSTITUTION Morehead State Univ., Ky. Appalachian Adult Education Center. SPONS AGENCY Appalachian Regional Commission, Washington, D.C. NOTE 75p.; Interim Report EDRS PRICE EDRS Price MF-$0.65 HC-$3.29 DESCRIPTORS *Cable Television, Community Antennas, *Depressed Areas (Geographic), *Educational Needs, *Statistical Data, *Surveys IDENTIFIERS *Appalachia ABSTRACT This document examines the problems and potentials that cable televisions have in public service, with a view toward understanding CATV's growth and how that growth relates to the developmental and educational needs of the Appalachian Region. Six developmental districts in Appalachia were chosen for intensive study.A team of consultants was organized to perform the research. Statistics were collected by the questionnaire method. Data gathered indicate that: (1) Cable systems that have been 0-500 subscribers have an average market saturation of 60%; (2) Systems with between 501 and 1,500 subscribers have an average 63% market saturation; (3) Cable systems with 1,501 to 3,500 and above have an average market penetration of 62%. This survey also showed that the CATV operators would be interested in participating in a regional cable television network. Upon completion of the research, an engineering report will be issued. (CK) U.S. DEPARTMENT OF HEALTH. EDUCATION & WELFARE OFFICE OF EDUCATION THIS DOCUMENT HAS BEEN REPRO- DUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIG- INATING IT POINTS OF VIEW OR OPIN IONS STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDU CATION POS,ION OR POLICY CATV IN CENTRALAPPALACHIA A FEASIBILITY STUDY Prepared.
    [Show full text]
  • Quality Assurance Workbook for Radiographers & Radiological Technologists
    (/ J . ' WHO/DIUOU DISTRIBUTION: GENERAL ORIGINAL: ENGLISH Quality assurance workbook for radiographers & radiological technologists by Peter J Lloyd MIR, OCR, ARMI~ Grad Dip FEd Lecturer (retired), School of Medical Radiation, University of South Australia Diagnostic Imaging and Laboratory Technology Blood Safety and Clinical Technology Health Technology' and Pharmaceuticals WORLD HEALTH ORGANIZATION Geneva © World Health Organization, 2001 This document is not a formal publication of the World Health Organization (WHO), and all rights are reserved by the Organization. The document may, however, be freely reviewed, abstracted, reproduced and translated, in part or in whole, but not for sale for use in conjunction with commercial purposes. The views expressed in documents by named authors are solely the responsibility of those authors. Designed in New Zealand Typeset in Hong l<ong Printed in Malta 2001/13663- minimum graphics/Best Set/Interprint- 3000 Ill Contents Introductory remarks vii Acknowledgements viii Introduction 1 Purpose of this workbook 1 Who this workbook is aimed at 2 What this workbook aims to achieve 2 Summary of this workbook 2 How to use this workbook 2 Roles and responsibilities 3 Questionnaire-student's own department 5 Pretest 7 Teaching techniques 10 Overview of teaching methods in common use 10 Assessment 10 Teacher performance 12 Suggested method of teaching with this workbook 12 Conclusions 12 Health and safety 15 Machinery 15 Electrical 15 Fire 15 Hazardous chemicals 16 Radiation 16 Working with the patient 17 Disaster 17 Module 1. Reject film analysis 19 Setting up a reject film analysis program 19 Method 20 Analysis 20 Action 20 Tasks to be carried out by the student 24 Module 2.
    [Show full text]
  • SMPTE Fact Sheet 4.3.16
    Society of Motion Picture and Television Engineers® FACT SHEET Winner of an Oscar® and multiple Emmy® Awards, the Society of Motion Picture and Television Engineers® (SMPTE®) is a global leader in advancing the art, science, and craft of the image, sound, and metadata ecosystem. A professional membership association that is internationally recognized and accredited, SMPTE advances moving-imagery education and engineering across the communications, technology, media, and entertainment industries. For a century, SMPTE has published the SMPTE Motion Imaging Journal and developed more than 800 standards, recommended practices, and engineering guidelines. Nearly 7,000 members — motion-imaging executives, engineers, creative and technology professionals, researchers, scientists, educators, and students — who meet in Sections worldwide, sustain the Society. Through the Society’s partnership with the Hollywood Professional Association (HPA®), this membership is complemented by the professional community of businesses and individuals who provide the expertise, support, tools, and infrastructure for the creation and finishing of motion pictures, television programs, commercials, digital media, and other dynamic media content. Information on joining SMPTE is available at www.smpte.org/join. MEDIA CONTACT: SMPTE strives toward its goal through its Three Pillars: Aimée Ricca SMPTE Marketing and Communication T +1 914 205 2381 MEMBERSHIP M +1 973 975 3439 Promoting networking and interaction F +1 914 761 3115 [email protected] STANDARDS MOBILE APP AVAILABLE FOR iOS, Developing industry standards ANDROID, AND KINDLE: smpte.mobapp.at EDUCATION VIRTUAL PRESS KIT: Enhancing expertise through the Motion Imaging Journal, www.smpte.org/media conferences, seminars, webcasts, and Section meetings March 2016 v2 disclosure documents (RDD) that are currently in force.
    [Show full text]
  • Panavision Genesis User's Manual
    genesis user’s manual (version 1.3) Panavision Genesis Manual v1.3 – 2 Graphic Conventions Blue decimals indicate sections in format of: chapter.section 20.3 The S (selectable) ranges of speed = chapter 20 section 3 Green highlights indicate “how to” sections 14.7 To change fixed speed format Underlined words indicate actions Pull the latch outwards Magenta numbers refer to other sections or chapters see sections 4.2 and 16.2 see chapter 12 Red italics indicate cautions and warnings Do not use compressed air to clean Lens mount V39 Panavision Genesis Manual v1.3 – 3 Inspired by the past Focused on the future V39 Panavision Genesis Manual v1.3 – 4 V39 Panavision Genesis Manual v1.3 – 5 genesis user’s manual by benjamin b V39 Panavision Genesis Manual v1.3 – 6 Copyright Information Copyright © 2007 Panavision Inc. All rights reserved. This document is not permitted to be distributed by anyone other than the employees of Panavision or its distributors. No part of this publication may be reproduced, transmitted, transcribed, stored in a retrieval system, or translated into any language in any form by any means without the prior written consent of Panavision. Prior written approval from Panavision must be obtained for any and all derivative works or aggregate works incorporating any of the information in this document, except as provided for under normal copyright law. Disclaimer Information in this document is provided solely for the user’s information and, while thought to be accurate, is provided strictly “as is” and without warranty of any kind, including liability or warranties relating to fitness for a particular purpose, merchantability, or infringement of any patent, copyright or other intellectual property right.
    [Show full text]
  • Mellon Guide.Qxd
    THE FILM PRESERVATION GUIDE THE BASICS FOR ARCHIVES, LIBRARIES, AND MUSEUMS National Film Preservation Foundation San Francisco, California National Film Preservation Foundation 870 Market Street, Suite 1113 San Francisco, CA 94102 © 2004 by the National Film Preservation Foundation Library of Congress Cataloging-in-Publication Data The film preservation guide : the basics for archives, libraries, and museums. p. cm. Includes bibliographical references and index. ISBN 0-9747099-0-5 (alk. paper) 1. Motion picture film—Preservation. I. National Film Preservation Foundation (U.S.) TR886.3F58 2003 778.5’8—dc22 2003024032 CIP This publication was made possible through a grant from The Andrew W. Mellon Foundation. It may be downloaded as a PDF file from the National Film Preservation Foundation Web site: www.filmpreservation.org. Credits Except as noted below, all photographs were provided by Barbara Galasso and the L. Jeffrey Selznick School of Film Preservation at George Eastman House. The following contributed illustrations and text material: American Museum of Natural History (94), Anonymous (67), California Pacific Medical Center (57), Chace Productions Inc. (12 center and right), Duke University (48 top), Estate of Edith Lutyens Bel Geddes and the Harry Ransom Humanities Research Center at the University of Texas at Austin (84), Florida Moving Image Archive (91), Image Permanence Institute at the Rochester Institute of Technology (10 top), Library of Congress (48 bottom, 51, 63, 87), Minnesota Historical Society (92), National Center for Jewish Film (90), Nebraska State Historical Society (69, 73, 74), Northeast Historic Film (back cover, 62 bottom, 76, 85), Oklahoma Historical Society (5), Pacific Film Archive at the University of California at Berkeley (back cover), Sabucat Productions (93), UCLA Film and Tele- vision Archive (86), University of Alaska Fairbanks (40), University of South Carolina Newsfilm Library (89), Visual Communications (58).
    [Show full text]
  • LUCAS-DISSERTATION.Pdf (3.422Mb)
    Copyright by Robert Christopher Lucas 2011 The Dissertation Committee for Robert Christopher Lucas Certifies that this is the approved version of the following dissertation: Crafting Digital Cinema: Cinematographers in Contemporary Hollywood Committee: Thomas Schatz, Supervisor Sharon Strover Nancy Schiesari Bruce Hunt James Hay Crafting Digital Cinema: Cinematographers in Contemporary Hollywood by Robert Christopher Lucas, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2011 Dedication For Julie Acknowledgements I am very grateful for my committee members‟ support through this long process. Thomas Schatz showed unflagging confidence in the project‟s value and in my ability to finish it. Sharon Strover offered feedback and encouragement at key moments and generously provided workspace in the crucial last months. James Hay was a wonderful source of challenging questions and reassurance. Bruce Hunt and Nancy Schiesari provided new perspectives on this subject that I greatly appreciated. Also, William Christ and Jennifer Henderson kindly hired me to teach at Trinity University for several semesters running and another Trinity colleague, Patrick Keating, helped invigorate this project with his research and our conversations. My graduate colleagues Kyle Barnett, Avi Santo, Hollis Griffin, Alison Perlman, and Holly Custard have encouraged me with welcome feedback and timely commiseration. The cinematographers and filmmakers that spoke with me were remarkably generous with their time. There are too many to thank here, but Curtis Clark, the chairman of the ASC Technology Committee, deserves a special mention for sharing his unique perspective and great knowledge.
    [Show full text]
  • EBU Tech 3289-2001 Preservation and Reuse of Film Material For
    Tech 3289 Guidelines for Broadcasters Preservation and Reuse of Filmmaterial for television May 2001 European Broadcasting Union Case postale 45 Ancienne Route 17A CH-1218 Grand-Saconnex Geneva, Switzerland [email protected] PRESERVATION AND REUSE OF FILM MATERIAL FOR TELEVISION Summary Future television production systems will require easier access to archival film material in an electronic digital form, for both preview and production purposes. In order to meet these requirements, broadcasters will need to transfer large collec- tions of film material – a very time-consuming and expensive operation. Regretta- bly, some of the film material in their vaults may already have started to degrade, due to adverse storage conditions. This document offers comprehensive guidelines to broadcasters on the handling, storage and reuse of motion picture film material for television production, both now and in the future. The telecine transfer process is discussed in detail, with special attention being given to its replay and correction properties. The document also discusses the effects of storage conditions on film material, and the problems encountered when handling endangered, degraded, material in a broadcast environ- ment. There is specific advice on how to check, preserve and store film material. Special attention is paid to the so-called “vinegar syndrome”, which is considered the major threat to the future reuse of acetate-based film material. The EBU working group which produced this document would like to acknowledge Eastman Kodak Company, the Image Permanence Institute and the Rochester Institute of Technology for the facts and figures on motion picture film properties and behaviour that are quoted here.
    [Show full text]
  • Recommendations and Reports of the Ccir, 1986
    This electronic version (PDF) was scanned by the International Telecommunication Union (ITU) Library & Archives Service from an original paper document in the ITU Library & Archives collections. La présente version électronique (PDF) a été numérisée par le Service de la bibliothèque et des archives de l'Union internationale des télécommunications (UIT) à partir d'un document papier original des collections de ce service. Esta versión electrónica (PDF) ha sido escaneada por el Servicio de Biblioteca y Archivos de la Unión Internacional de Telecomunicaciones (UIT) a partir de un documento impreso original de las colecciones del Servicio de Biblioteca y Archivos de la UIT. (ITU) ﻟﻼﺗﺼﺎﻻﺕ ﺍﻟﺪﻭﻟﻲ ﺍﻻﺗﺤﺎﺩ ﻓﻲ ﻭﺍﻟﻤﺤﻔﻮﻇﺎﺕ ﺍﻟﻤﻜﺘﺒﺔ ﻗﺴﻢ ﺃﺟﺮﺍﻩ ﺍﻟﻀﻮﺋﻲ ﺑﺎﻟﻤﺴﺢ ﺗﺼﻮﻳﺮ ﻧﺘﺎﺝ (PDF) ﺍﻹﻟﻜﺘﺮﻭﻧﻴﺔ ﺍﻟﻨﺴﺨﺔ ﻫﺬﻩ .ﻭﺍﻟﻤﺤﻔﻮﻇﺎﺕ ﺍﻟﻤﻜﺘﺒﺔ ﻗﺴﻢ ﻓﻲ ﺍﻟﻤﺘﻮﻓﺮﺓ ﺍﻟﻮﺛﺎﺋﻖ ﺿﻤﻦ ﺃﺻﻠﻴﺔ ﻭﺭﻗﻴﺔ ﻭﺛﻴﻘﺔ ﻣﻦ ﻧﻘﻼ ً◌ 此电子版(PDF版本)由国际电信联盟(ITU)图书馆和档案室利用存于该处的纸质文件扫描提供。 Настоящий электронный вариант (PDF) был подготовлен в библиотечно-архивной службе Международного союза электросвязи путем сканирования исходного документа в бумажной форме из библиотечно-архивной службы МСЭ. © International Telecommunication Union INTERNATIONAL TELECOMMUNICATION UNION CCIR INTERNATIONAL RADIO CONSULTATIVE COMMITTEE RECOMMENDATIONS AND REPORTS OF THE CCIR, 1986 (ALSO QUESTIONS, STUDY PROGRAMMES, RESOLUTIONS, OPINIONS AND DECISIONS) XVIth PLENARY ASSEMBLY DUBROVNIK, 1986 \ \ - V* \ r ■ ‘ ?>* •. - -n ' * i ; v- • ; * 4 VOLUMES X AND XI - PART 3 SOUND AND TELEVISION RECORDING Geneva, 1986 CCIR 1. The International Radio Consultative Committee (CCIR) is the permanent organ of the International Telecommunication Union responsible under the International Telecommunication Convention "... to study technical and operating questions relating specifically to radiocommunications without limit of frequency range, and to issue recommendations on them..." (Inter­ national Telecommunication Convention, Nairobi 1982, First Part, Chapter I, Art.
    [Show full text]
  • Telecine STE-B1
    Telecine STE-B1 Operating Instructions Published by BTS Media Solutions GmbH Brunnenweg 9 D-64331 Weiterstadt, Germany P.O. Box 1165 Tel: +49 (0) 6155-870-0 Fax: +49 (0) 6155-870-300 Web Sites Internet: www.thomsonbroadcast.com www.imagingsystems.de Intranet: www.weiterstadt.thmulti.com Trademarks All product names mentioned in this manual are the trademarks of their respective owners. Copyrights Information in this document is subject to change without notice. This document and any updates and/or supplemental information, including any copies thereof, cannot be reproduced, neither communicated to a third party, without written authorization from THOMSON multimedia Broadcast Solutions. Please notify THOMSON multimedia Broadcast Solutions of any errors in this document. We also would appreciate any comments you have to improve this manual. E BTS Media Solutions GmbH 2002. All rights reserved. STE-B1 Contents CONTENTS 1. General 1.1 About the Manual. 1-1 1.2 Software State. 1-1 2. Control and Display Elements 2.1 Filmdeck. 2-1 2.2 Control Panels. 2-5 2.2.1 Local Control Panel FH 4500. 2-5 2.2.2 Graphical Control Panel GCP. 2-8 3. Operational Preparations 3.1 Hardware Conditions. 3-1 3.2 Power-Up. 3-1 3.3 Basic Adjustments of the Telecine. 3-2 3.3.1 Configuration of the Control Panel. 3-2 3.3.2 Select TV Standard. 3-3 3.4 User-Specific Configuration of the Telecine. 3-5 3.4.1 Change Optical Block. 3-5 3.4.2 Change Film Gate. 3-7 3.4.3 Using Effect Filters.
    [Show full text]
  • Smpte-Test-Materials-Catalog.Pdf
    ,»>1r§1i,;>f»:;<5 ai;=l;m.;w,l,la Q :'1§iW7ii -Q-~al.;.1 in ‘E \LJ.£,,u£ e #KLM M .i 2 ‘ IE; , » 9 it 3 “ imLil SMPTE Test Materials E 11 ?:=‘l;é.€ For H12 Q \§4:_;_:;¢: Jil" -wi. Motion Pictures 4 ,e lg g fl ei-~M,] 15 And “lilimi;;iméT@i 41; Qi EL V" itil; la Television ,~»~ i.-fel 'ii *rim mu.,r ei fi’ 555 111 ,Jfhiusillilif >l@;;Mm;;;i, Society ol Mollon Plclure and Television Engineers 862 Scarsdale Ave. Scaredale N Y. 10583 (914) 472-6606 A“‘MWi< <l Telex: 4995348 7. All test lilms are fragile. They wear out with use and WHAT IS THE SMPTE? watched and films Televlslon Engineers with age. Reliability must be carefully The Society of Motion Picture and replaced when questionable. Color films lose their color is one of the worId’s foremost engineering (SMPTE) balance alter one or two years, societies in the fields ol motion pictures and television. to a emulsion post- Since 1916 the SMPTE has played a maior role ln stan- 8. Attention should be given li|m's RP 39 dardization, and has been a strong influence in encour- tion. SMPTE Recommended Practice glves speci- At in industry. For its fications for maintaining an “emulsion-in" position. aging good engineering practices the picture-with- engineering work, the SMPTE has received an Oscar present, 35-mm SMPTE picture-only and Color lrom the Academy of Motion Picture Arts and Sciences, sound test films, as well as the 35-mm Subjective and the photographic 35-mm sound- an Emmy and two Citations from the Academy cl Reference test lilms in the "tall-out, Television Arts and Sciences.
    [Show full text]
  • White Paper Dust to Glory: a Film
    white paper a white paper by digitalfi lm tree Dust to Glory: A Film author: charles koppelman Dust to Glory: The fi lm a white paper by digitalfi lm tree Dust to Glory, a Dana Brown fi lm (IFC Films, 2005) is an extraor- dinary fi lm about the most notorious and dangerous race in the world, the 36th Annual Tecate SCORE Baja 1000. Far from a traditional documentary, “Dust to Glory” (D2G), directed by Dana Brown (“Step into Liquid”), is all-encompass- ing in its depth and breadth. It also breaks new ground with the methods by which it was made. D2G may be the most elaborate, complex, high-end digital fi lm to ever be completed using a high- defi nition digital intermediate with a Windows-based PC system: Adobe Premiere Pro and Adobe After Effects, CineForm’s Pros- pect HD, Synthetic Aperture’s Color Finesse, with BOXX and AJA technology. “This is a tough man’s game.” -- From the trailer for D2G DigitalFilm Tree, a post production/visual effects facility based in West Hollywood, was engaged to consult during “Dust to Glory” post-production. “We felt that ‘Dust to Glory’ was a great project for a place such as ours,” says DigitalFilm Tree CEO Ramy Katrib. “In a collaborative effort with Laser Pacifi c and the fi lmmakers themselves, we were able to be part of a revolutionary workfl ow that involved almost every format imaginable. Together, this team established a digital domain unique to the challenges faced and produced a viable and beautiful piece of celluloid in the end.” This white paper takes you behind the scenes to reveal secrets of how D2G was produced, shot, edited, and fi nished — saving nearly half a million dollars along the way.
    [Show full text]
  • Digital Film Supplement
    DIGITAL FILM SUPPLEMENT Editor: Bob Pank Introduction What started over a decade ago with the use of digital effects and offline in film has grown into the much wider use of digital technology to embrace the whole scene-to-screen process. For many, Avid’s Film Composer was their first encounter with any form of digital film, and today it is commonplace for the offline decision-making process. Certainly the use of equipment like Kodak’s Cineon, Quantel’s Domino and later Discreet’s Inferno have transformed the whole use of effects shots in motion pictures – even to the extent of changing the way pictures are made. Initially, only the effects shots were put through the film-digital-film processes. Now, thanks to further developments in many areas such as digital storage, scanning, processing and projection, whole features are handled as Digital Intermediates to produce digital masters at full film resolution. As the technology gaps are plugged events are moving rapidly so that digital pictures and sound can carry all the way from scene to screen. This is already happening with a number of feature films, including Star Wars Episode 2: Attack of the Clones, shot on digital cameras and digital all the way through to projection in digital, as well as traditional, cinemas. Famously, George Lucas said at NAB 2001‘I will never make another film… on film again.’ Clearly he is convinced of the benefits of all-digital production. The digital scene-to-screen path comprises three distinct areas: capture/shooting, post production and distribution/projection – otherwise know as Digital Cinema.
    [Show full text]