LAS VEGAS — The Digital Cinema Summit sponsored a “look management” panel where they discussed how the film’s look is created and communicated through the post-production pipeline.
Daryn Okada, ASC: (“Dr. Dolittle 2,” “Lake Placid”) says, “We need a system or language that can define what we meant when a film was shot or an image captured,” adding that we need a common language among all of these file formats.
Bill Feightner, executive VP/Technology eFilm says, “Setting the look is a balance of many factors.” He believes it is important to consider how the film will be viewed as well as its color correction.
For Karl Walter Lindenlaub, ASC: (“Maid In Manhattan,” “The Princess Diaries”), “Having everybody involved used to a look while you are shooting is a good way to go. Have the look established early on to save time in post.”
Several clips from the upcoming Hugh Jackman film “Van Helsing” were shown first, as originally photographed, and then as processed via Digital Intermediate coloring. According to Bob Ducsay, producer/editor “Van Helsing,” about 1,200 visual effects were employed, roughly 50% of the film. The film was first scanned into digital format last November. “Make color process an integral part of the entire film,” he says.
Colorist Steve Scott of Digital Intermediate (“The Ladykillers,” “Angels In America”) says, “I think it (Digital Intermediate) is film’s best friend. I think it honors film and uses it to great advantage. We are not losing content.”