Free Webinar to Catch-Up on Digital Intermediate
Digital Intermediate has now become an Industry Standard in audiovisual workflow but not even a decade ago it was still an innovative and costly step to take as the excellent article Digital Intermediate For Film written in 2002 by Rainer Standke for the Editors Guild Magazine proves:
In the last year or two, the price of scanning film and recording it back to celluloid has come down so much that it is now economically feasible to bring an entire show into the digital domain, work with it there and record it out, ready for printing in the laboratory. The term “digital intermediate” has come to be used for this process, and though it is still so new that in some cases it is being redefined with each show, the fundamental creative and technical advantages may soon make it a standard part of post-production for many features.
Digital Intermediate initially referred to the scanning and digitization of film to add on it special effects, color grading, and specific looks at a lower cost and with more flexibility, before outputting it back on film for its projection. It was an intermediary stage before going back to its initial format, film.
Now that more and more movies are directly shot digitally and sometimes never leave the digital format, the Intermediate in DI means more than an intermediary step and the process gained in complexity.
The good news is Filmmaking Webinars offers a free workshop on November 3rd to catch up on the matter:
Join us as we explore the ever-advancing role of Digital Intermediate in today’s era of digital productions. We will focus on the state of the art of file-based workflows from image acquisition, to editorial and VFX integration, to color grading and finishing. You will learn how to use ASSIMILATE’s SCRATCH to push the creative envelope into projects that require the integration of many different film and digital camera formats. We’ll also show you how to integrate different facilities in the post-production process and how to manage large number of shots, takes and versions. Finally, we’ll detail how to maintain color continuity across the entire DI workflow.
Knowing what DI covers exactly and how to deal with it can help independent and/or low-budget productions save a lot of time and money. If the webinar holds its promises, it should be interesting not only for editors and colorists but also for directors and producers.
Here is the link to read more about it and register.