Digital Workflow


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Digital Workflow

  1. 1. Digital WorkflowQuick look at workflow part 1
  2. 2. Film Production Workflow
  3. 3. Digital Workflows
  4. 4. Postproduction• Post production Supervisor• Sales Agent/Sales Company• Delivery Agent• Distributors• Exhibitors
  5. 5. Post Production Supervisors• Post Production Supervisors are responsible for the post production process, during which they maintain clarity of information and good channels of communication between the Producer, Editor, Supervising Sound Editor, the Facilities Companies (such as film labs, CGI studios and negative cutters) and the Production Accountant.
  6. 6. • Although this is not a creative role, it is pivotal in ensuring that the film’s Post Production budget is manageable and achievable, and that all deadlines are met. Because large amounts of money are involved, and most of a film’s budget is spent during Production, the Post Production period can often be difficult and challenging.
  7. 7. Traditional Video Workflow
  8. 8. 16_35 DI Workflow
  9. 9. What is DI• Digital intermediate (typically abbreviated to DI) is a motion picture finishing process, which classically involves digitizing a motion picture and manipulating the colour and other image characteristics. It often replaces or augments the photochemical timing process and is usually the final creative adjustment to a movie before distribution in theaters.
  10. 10. • The digital intermediate process uses digital tools to color grade, which allows for much finer control of individual colors and areas of the image, and allows for the adjustment of image structure (grain, sharpness, etc.).• One of the key technical achievements that makes the DI possible is the look-up table (aka "LUT"), which can be made to mimic how the digital image will look, once its printed onto normal release print stock.
  11. 11. DI Workflow
  12. 12. What is a LUT?• In the film industry, 3D LUTs (lookup tables) are used to calculate preview colors for a monitor or digital projector of how an image will be reproduced on the final film print.
  13. 13. • A 3D LUT is a 3D lattice of output color values. Each axis is one of the 3 input color components and the input color thus defines a point inside the lattice. Since the point may not be on a lattice point, the lattice values must be interpolated, most products use trilinear interpolation.
  14. 14. 3D Lut
  15. 15. • Cubes may be of various sizes and bit depths. Often 17x17x17 cubes are used as 3D LUTs. The most common practice is to use RGB 10bit/component log images as the input to the 3D LUT. Output is usually RGB values that are to be placed unchanged into a display devices buffer.
  16. 16. What is DIT• A digital imaging technician (DIT) works in collaboration with a cinematographer on workflow, systemization, signal integrity and image manipulation, to achieve the highest image quality and creative goals of cinematography in the digital realm.
  17. 17. • A DITs role is especially prevalent with the widespread use of HD technology, in assisting cinematographers normally accustomed to film stock in achieving their desired look. They may also be in charge of transferring and managing the image data, replacing the traditional film clapper loader position.
  18. 18. • The Digital Imaging (or Image) Technician is a relatively new position on a motion picture set. It was created as a response to transition from the traditional film medium into digital cinema, which utilize various formats like HD.• Since video reacts much differently than film in many situations, the DITs job is to work with the cinematographer and help achieve the best results. This includes but not limited to: monitoring exposure, setting up "look up tables" (LUTs), set camera settings, and media management.
  19. 19. What is CDL• The American Society of Cinematographers Color Decision List (ASC CDL) is a format for the exchange of basic primary color grading information between equipment and software from different manufacturers.
  20. 20. • The format defines the math for three functions: Slope, Offset and Power. Each function uses a number for the red, green, and blue color channels for a total of nine numbers comprising a single color decision.
  21. 21. DSLR Workflow with Technicolor CinseStyle
  23. 23. RED ONE Workflow
  24. 24. Sony EX 3 Workflow
  25. 25. Your Choices ?