Hollywood DI, Sony, Blackmagic demo workflow

Trio stage world premiere of F65 RAW and SRFile to DaVinci Resolve

Digital image technology took another step forward with a demonstration earlier this month on The Lot in West Hollywood. At the event, post-production house Hollywood DI, Sony Electronics and Blackmagic Design showed for the first time the processing of the Sony F65 camera’s RAW and SRFile footage using Blackmagic Design’s DaVinci Resolve software.

The demo footage was shot on Sony’s CineAlta F65 8K camera and encoded to the SRFile format using a soon-to-be released version of Resolve.

“For a modern post house like Hollywood DI that specializes in file-based workflow for filmmakers and TV shows, it’s imperative that we find the most robust and cost-effective tools to deliver our editing, color correction and finishing services.” said Neil Smith, managing director of Hollywood DI. “Taking the F65 RAW data out of the camera and converting it to SRFile format for editing and conforming projects using DaVinci Resolve is a remarkable achievement. The camera and software incorporate many SMPTE standards that facilitate the easy exchange of digital content between production and post systems. Our FLOworks methodology for digital content creation and delivery complements the IIF ACES specification perfectly.”

“The American Society of Cinematographers Technology Committee has been working closely with the Academy of Motion Picture Arts and Sciences Sci-Tech Council to develop the Image Interchange Framework and Academy Color Encoding Specification, or IIF ACES,” said Curtis Clark, chairman of the ASC committee. “The IIF ACES specification delivers on the need for a comprehensive color management system that not only accommodates wide gamut color reproduction, but also incorporates known and unambiguous transforms between log and scene linear encoding, as well as known transforms between different color spaces.”

“4K digital acquisition and file-based workflows present both challenges and opportunities to our membership,” said Steven Poster, prexy of Local 600, International Cinematographers Guild. “Local 600 camera crews and DITs are at the front line of the constant change in camera formats, imaging codecs and digital workflows… It’s vital for our members that cameras like Sony’s new F65 are introduced on set with a tried and tested workflow. One thing is for sure – in the brave new world of digital production and post, the only constant is change. Local 600 members will be there to make sure it happens smoothly and efficiently.”

The F65 is a successor to Sony’s F35, with wider color gamut than film and 14 stops of dynamic range. Many consider it a competitor to the Arri Alexa and the higher end of the Red camera line. It is aggressively priced at $65,000.

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