Digital Intermediates for Film and Video
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A01=Jack James
advanced digital intermediate workflow
asset management systems
Author_Jack James
Category=AJTV
Chroma Key
CIE Coordinate
color
color correction methods
Color Space
Conforming System
Digital Cinema
Digital Cinema Initiative
digital effects integration
Digital Intermediate
Digital Intermediate Environment
Digital Intermediate Facilities
Digital Intermediate Pipelines
Digital Intermediate Process
Digital Pipeline
Digital Source Master
DVD Video
environment
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
facility
film restoration techniques
Foreground Elements
frame
grading
GSN.
Illegal Colors
image
Image Based Lighting
Motion Blur
pipelines
Playback
postproduction workflow
process
RGB Color
RGB Color Model
RGB Color Space
space
tapes
VHS Cassette
Vice Versa
virtual cinematography
Product details
- ISBN 9780240807027
- Weight: 1080g
- Dimensions: 189 x 246mm
- Publication Date: 19 Oct 2005
- Publisher: Taylor & Francis Ltd
- Publication City/Country: GB
- Product Form: Paperback
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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.
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."
