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HOLLYWOOD IN THE SOUTH

Digital Intermediate Suite Premieres at Cinefilm

Atlanta, GA. – It was in January of 2009 that marked a new addition to the services of Atlanta-based Cinefilm with the launch of their new Digital Intermediate Suite. The suite is a complement to the two existing film transfer suites that feature a Spirit 2K and Quadra with DaVinci color correction. “Our DI suite will allow us to provide features clients full support from dailies to final color correction for a film out” notes General Manager Jim Ogburn. “The marketplace is moving toward DI finish instead of the traditional AB roll film finish and we wanted to be the pioneer for that in the Atlanta and Southeast market.”

Cinefilm will be the first company in Atlanta to provide color correction in a theater setting with 4:4:4 digital projection on a screen. “Many companies are performing color correction using standard HD monitors,” explains Ron Anderson, Senior Colorist for Cinefilm, “but the look of light reflected from a movie screen is different than RGB additive color from HD monitors. Projection viewing is the standard in Los Angeles and we wanted to give our clients that same quality.”

Cinefilm Account Manager Joe Huggins helped research and design the new suite as an answer to client demands. “We do the lab work and dailies for Hollywood features like “We Are Marshall,” Huggins proudly notes, “but our lower budget indie clients needed a cost effective process for DI. We are technically an HD-DI at 1920x1080, but that roughly 80 lines less resolution than a 2K scan is negligible, and having scans made would cost a client $26,000 before he even began to color correct. We can provide the final transfer and correction for slightly more than that price at virtually identical quality.”

What makes the a workflow at Cinefilm unique among HD-DI processes, is the media stays 10bit -uncompressed digital all the way to a film out. Even HDCam SR 444 has 2.7:1 compression on tape, the film transfers to drive will never see tape compression anywhere in the process. “What we have to offer is something most post houses do not,” boasts Huggins, “we do not have editors that will be trying their hand at color correction, we have full-time colorists. With projection grading in 4:4:4 HD with true color specialist, there’s no compromise on your image.”

Cinefilm will also provide sample tests of select scenes to 35mm film out and project those in the film screening room adjacent to the DI suite. That way, the client is assured that the look on the digital projection matches the color and density of the prints. Having a lab in the same facility is an added bonus.