One way to master a motion picture is by Digital Intermediate approach. Also known as DI, it is suitable for every film genre there is, although in the past it was widely associated with special effects and sci-fi movies. These days, it is sought after by many because of the edge it has over the more traditional processing performed at the laboratory.
This involves the digitizing of the film, just like what it's called suggests. To become a file stored digitally in a computer, it has to be run through a scanner. The main tool utilized by an editor is a computer rather than the reliance on chemicals and a few other instruments at the lab. Once through, the finished product is then printed back onto film.
There are numerous advantages that DI brings, and one of them is it prevents the lowering of resolution. The traditional approach involves the downgrading of a negatives resolution when being turned into projection print. On the other hand, the digitized alternative keeps the film's resolution intact. In short, DI is a lossless form of motion picture processing.
With the frames digitized, DI offers an editing approach that is very flexible. As mentioned earlier, it is no longer limited to movies containing special effects. Mastering digitally allows for so many things, and in ways that are more flexible. For instance, color correction is carried out by the pixel, permitting the editor to skip those parts that require no adjustment.
The same thing can be said for correcting the contrast. It's possible to tweak only certain portions that require the increasing or decreasing the ratio of the darkest and lightest colors. Lighting can be made consistent by DI. Conformity may be achieved for scenes with varying lighting conditions, like those shot at different times.
Needless to say, DI also allows for the addition or enhancement of special effects. It enables better composting even without the use of green screen techniques during shooting, making it possible to add or eliminate certain scene elements. These various adjustments and more may be done one after the other, either on a single frame or on every one of them.
One of the few downsides to Digital Intermediate is the cost that goes with it. However, expect a decline in the price tag as computers end up being more powerful. The multiplication of post-processing studios also enables this approach to be more accessible and affordable to commercial films as well as independent ones.
This involves the digitizing of the film, just like what it's called suggests. To become a file stored digitally in a computer, it has to be run through a scanner. The main tool utilized by an editor is a computer rather than the reliance on chemicals and a few other instruments at the lab. Once through, the finished product is then printed back onto film.
There are numerous advantages that DI brings, and one of them is it prevents the lowering of resolution. The traditional approach involves the downgrading of a negatives resolution when being turned into projection print. On the other hand, the digitized alternative keeps the film's resolution intact. In short, DI is a lossless form of motion picture processing.
With the frames digitized, DI offers an editing approach that is very flexible. As mentioned earlier, it is no longer limited to movies containing special effects. Mastering digitally allows for so many things, and in ways that are more flexible. For instance, color correction is carried out by the pixel, permitting the editor to skip those parts that require no adjustment.
The same thing can be said for correcting the contrast. It's possible to tweak only certain portions that require the increasing or decreasing the ratio of the darkest and lightest colors. Lighting can be made consistent by DI. Conformity may be achieved for scenes with varying lighting conditions, like those shot at different times.
Needless to say, DI also allows for the addition or enhancement of special effects. It enables better composting even without the use of green screen techniques during shooting, making it possible to add or eliminate certain scene elements. These various adjustments and more may be done one after the other, either on a single frame or on every one of them.
One of the few downsides to Digital Intermediate is the cost that goes with it. However, expect a decline in the price tag as computers end up being more powerful. The multiplication of post-processing studios also enables this approach to be more accessible and affordable to commercial films as well as independent ones.
About the Author:
Nolan Tornes likes writing about video production. For additional details about digital intermediate processing, or to find out more about color grading workflow, please go to the DigitalSystemsMedia.com website today.
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