411 Update: What prompted the creation of the new PostWorks Digital Intermediate mastering theater?

Billy Baldwin, PostWorks, NY: After completing more than a dozen Features using the DI process (including Miramax's "Pinero", and IFC's "A Decade under the influence" as well as Academy nominated docs "The Fog of War", "Capturing the Freidmans", "My Architect" and "Assylum") we realized that even our 32" HD monitors were not high enough in resolution and size to notice all the subtle nuances that were revealed in the final film-projected end product. That is to say that everything looks good on an HD monitor. Grain management (the adding or removal of), visual effects and compositing, as well as titles and graphic elements, must all be taken into consideration for the projected image running at 24fps. Now that Digital Projection technologies are able to produce an image that is comparable to film in color, contrast, and resolution, it only made sense to build a "working" theater for the express purpose of DI.

411 Update: Is there a difference between HD Digital Intermediates and Non-HD DI technologies? Can you talk a little bit about that and the different types of equipment that might be used for each?

Billy Baldwin, PostWorks, NY: If by Non HD you mean some of the standard definition systems such as the Panasonic DVX 100 cameras, we are seeing some very good results when up-converting the image through the Teranex during the conform process. Many of the Documentaries that we have worked on haven't had the luxury of being acquired entirely on one format, let alone HD. In many cases stock footage is coming in on everything from VHS and DVD to 16mm and 8mm film. In the end you get what you pay for. There is a reason why the more expensive formats are more expensive, with film still being the best acquisition medium qualitatively.

To summarize the options in descending quality order:
*  Viper FilmStream 4:4:4 rgb recorded to uncompressed disc recorder.
*  Sony CineAlta F950 4:4:4 rgb recorded to uncompressed disc recorder.
*  Sony CineAlta F950 4:4:4 rgb recorded to SRW low compression vtr.
*  Sony HDcam F900 4:2:2 yuv recorded to uncompressed disc recorder.
*  Sony HDcam F900 4:2:2 yuv recorded to D5 low compression vtr.
*  Panasonic Varicam 4:2:2 yuv recorded to D5 low compression vtr.
*  Sony HDcam F900 recorded to high compression internal tape recorder.
*  Panasonic Varicam recorded to high compression internal tape recorder.

Because of the different pre-filtering, compression and other “things” done to the image when in HDcam mode, the final two entries are not as easy to rate... As always, it’s best to check for yourself and see what empiric testing shows. There is also the question of the modified Sony F900 cameras, as supplied by Panavision, which offer yet another alternative.

It's also worth remembering that camera lenses can do more to affect the quality of the final image than anything, and I have ignored those here. The rule as with film cameras is to go for the best, and this usually means fixed focus “primes.” I have also ignored cameras only capable of 25p/50i as today cinematic release requires 24fps, and conversion from 25fps to 24fps can cause major issues, especially with audio.

Digital Intermediate has traditionally been seen as a data centric workflow of high-resolution images of 2K resolution or greater. However, the benefits that Digital Intermediate workflow provides, offers the chance to drastically alter the traditional approach to video post-production, while providing greater creative opportunities for the client with higher quality final results at a cost point equal to that of previous video based workflows. In very simple terms the traditional approach for film captured material used for final video products has been to telecine the camera negative while grading to provide a usable “video” image in readiness for the following on-line editing and VFX stages. The DI approach by contrast is to “clone” all the information contained within the film negative, often after having performed a previous “one-light” telecine pass for the offline process and therefore use the offline edl to define the selected takes, with no grading taking place during the “clone” transfer. The benefits this offers——being able to grade the selected shots in-context of the final edit——is hard to state loudly enough. Grading should be performed towards the end of the process, not at the beginning. Therefore, there is real interest in applying the DI approach to more traditional video post-production, especially as the use of HD increases as a final delivery format.

Obviously, the main problem with a pure “data centric” 2K DI workflow is that the facility performing the post work needs to invest in data networking and data based systems. And most data based operations run slower than video’s real-time. As a result HD infrastructure has been utilized in building a real-time DI approach to post-production. This can mean a number of different things, especially if the capture medium has been digital HD and not film, but looking at film captured projects provides an easy understanding of the process and benefits––something that PostWorks, New York has taken to heart. Rather than telecine as described above for video HD post-production (grading on the telecine) the film is transferred as a 10bit Log clone of the negative to HD tape in real-time. The best telecines for this at present are Thomsons Datacine, as they have self-calibrating 10bit Log setup capability. Even though with HD as your intermediate format this “data” is held with an HD video wrapper, it is, for all intents and purposes, the same as 10bit log digital film data. The difference is that scanning takes place at real-time with the resulting data being recorded to “video” tape, rather than a non real-time scan to disc. As a result costs are lower, especially as no colorist is involved in the telecine transfer as with a “video” workflow. The telecine is being used as a real-time data scanner! Within the DI post-production system the project is treated the same as it would for a full “film” DI, with editing and VFX occurring prior to grading, resulting in a much better final image. In time, all post-production will be done via a DI workflow. 

411 Update: How will this theater help ease workflow issues for projects shot in HD?

Billy Baldwin, PostWorks, NY: It's all about pre-visualization and offering our clients the closest representation to the film end product, including the ability to apply Look Up Tables of the various print stocks. Not to mention the ability to create all your deliverables from a single series of files rather than making video deliverables from an IP later on in the process.

411 Update: Can you explain at which point in the production process a film maker and/or DP would have use for the PostWorks DI Theater?

Billy Baldwin, PostWorks, NY: Many times they come in to view HD Dailies or Camera tests very early on. Then for test screenings for executives and test audiences and then finally for creating the final product including all film and video deliverables.

411 Update: How will the availability of some of the post tools that PWNY has on hand in the theater be used by filmmakers working on HD projects?

Billy Baldwin, PostWorks, NY: In addition to the Pandora MegaDef color system, PostWorks can also perform full 5:1 Dolby Laybacks. Our KVM switch allows us to control any of our systems in the facility. That is to say that if we need to check a visual effect being worked on in our Infernos, we can rout not just the signal to the room but actually be able to fully control the systems.

411 Update: What are some HD films in the pipeline that are or will be using the DI theater?

Billy Baldwin, PostWorks, NY: We are currently working with MGM on a picture entitled "Romance & Cigarettes" directed by John Torturo.

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