[tig] Digital Intermediates in the WALL STREET JOURNAL
Wed Aug 13 06:28:36 BST 2003
Interesting article in yesterday's issue of WSJ, in the technology section
("Engineering Blue Skies," pp. B1 & B3). They did a piece on the trend for
new features shooting on film and finishing up as 2K data and outputting
back to film. The article covers two of our projects now out in theaters
this week -- S.W.A.T. and OPEN RANGE, both very different productions, but
each visually interesting in its own way.
While Cinesite is the main focus in the article, they also interviewed
people at Warner Bros. and PacTitle, along with a spokesman from the ASC.
(They also spelled my name wrong twice, which is typical -- and, despite
what you see in the photo, I swear, we don't color-correct with all the
lights on in the room!)
There are a few minor technical gaffes in the piece, like this one:
"Before, directors of photography had to make separate prints for film,
video and DVD, with individual color corrections required for each medium.
Digital intermediates require only one color correction, because all three
formats are printed from the original negative."
Ah... not exactly. But what is true is that we have a method to translate
the film color-corrections to video color space for home video versions,
greatly reducing the time needed to create the D5 masters. Even though it's
more work for us, I like the idea of having just one person responsible for
the look of the film in the theater _and_ on home video. OPEN RANGE is
unique in that we also handled about 3/4 of the shots for the theatrical
trailer, too. Next time, I'd like to have a hand in the ad/pub, D-Cinema,
and TV trailer work as well.
--Marc Wielage/Cinesite Digital Imaging
[Note: the opinions expressed expressed above are strictly my own, and not
necessarily that of my employers.]
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