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.
Like what the name says, it involves the digitizing of a film. It is scanned to become a digital file stored on a computer. The editor's main tool is a computer, in contrast to the various chemicals and other instruments necessary for laboratory processing. Once finished, the product of the editing is then once more printed onto film.
One of the many advantages DI offers is it doesn't reduce the film's resolution. In the traditional method, the original negatives resolution has to be downgraded to end up as a projection print. The digitized approach, however, allows the retention of a film's original resolution. In other words, it's an alternative to laboratory processing that is lossless.
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 applies for changing the contrast. It may be performed only on some areas where the ratio of the brightest and darkest colors needs to be increased or decreased. DI also makes it possible to make lighting effects consistent. Scenes with different lighting setup or shot at varying times during the day may be edited for conformity purposes.
Special effects enhancement or addition is definitely a possibility. Even without the use of green screen technique during filming, composting such as the inclusion of scene elements as well as the removal of them may be done. These things that such mastering offers can be done all at the same time, be it throughout the entire film or on select frames only.
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.
Like what the name says, it involves the digitizing of a film. It is scanned to become a digital file stored on a computer. The editor's main tool is a computer, in contrast to the various chemicals and other instruments necessary for laboratory processing. Once finished, the product of the editing is then once more printed onto film.
One of the many advantages DI offers is it doesn't reduce the film's resolution. In the traditional method, the original negatives resolution has to be downgraded to end up as a projection print. The digitized approach, however, allows the retention of a film's original resolution. In other words, it's an alternative to laboratory processing that is lossless.
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 applies for changing the contrast. It may be performed only on some areas where the ratio of the brightest and darkest colors needs to be increased or decreased. DI also makes it possible to make lighting effects consistent. Scenes with different lighting setup or shot at varying times during the day may be edited for conformity purposes.
Special effects enhancement or addition is definitely a possibility. Even without the use of green screen technique during filming, composting such as the inclusion of scene elements as well as the removal of them may be done. These things that such mastering offers can be done all at the same time, be it throughout the entire film or on select frames only.
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 loves blogging about video production. For additional information about digital intermediate processing, or to find out more about color grading workflow, please check out the DigitalSystemsMedia website today.
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