Hollywood DI, a leading Hollywood post-house and developer of file-based workflows for digital content creators announces that at the F65 Camera and Workflow Open House held in West Hollywood on December 10th, 2011, Hollywood DI and its strategic partners successfully demonstrated the world premiere of the processing of F65 RAW and SRFile footage using Blackmagic Design’s DaVinci Resolve. The demonstration footage was shot on Sony’s CineAlta F65 camera and demosaiced and encoded to the SRFile format using a soon-to-be released version of the DaVinci Resolve color correction software.
Neil Smith, Managing Director of Hollywood DI, is delighted with the testing his company has conducted on the workflow between the F65 camera and DaVinci 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 Smith. “Taking the F65 RAW data out of the camera and converting it to SRFile format for editing and conforming projects using the DaVinci Resolve color correction software 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.”
Curtis Clark, ASC, Chairman of the American Society of Cinematographers Technology Committee, is pleased with the way the F65 camera and DaVinci Resolve software incorporate the IIF ACES workflow. “The ASC 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 for short,” said Clark. “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.”
Steven Poster, ASC, National President of the Local 600, International Cinematographer’s Guild is a strong advocate of the standards approach to camera and workflow integration. “The Local 600, ICG is always interesting in emerging production technology and in keeping our members abreast of the changes taking place in movie and TV production techniques,” said Poster. “4k digital acquisition and file-based workflows present both challenges and opportunities to our membership. Local 600 camera crews and DITs are at the front line of the constant change in camera formats, imaging codecs and digital workflows. The IIF ACES framework provides a standardize methodology for handling image and color metadata throughout the production and post process. 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.”
About the F65 Digital Acquisition and File-based Workflow Open House
Held on December 10th, 2011, on The Lot in West Hollywood, The F65 Digital Content Workflow Open House was jointly sponsored by Hollywood DI, SONY US, Blackmagic Design, AbelCine, Colorfront, Melrose Mac, Maya Digital Systems, Dixon Computing and the Local 600 International Cinematographers Guild.
The Open House demonstrated the close-to-release version of the Sony F65 8k digital camera recording a 4k RAW image stream to the SRMemory recorder. The 16 bit Linear RAW data stream was then decompressed and demosaiced on the next version of Blackmagic Design’s DaVinci Resolve color grading software. Curtis Clark, ASC, conducted a workshop on lighting and filming ‘The Arrival’ shot on the Sony F65 CineAlta camera.
About Hollywood DI
Located on “The Lot” in West Hollywood, California, Hollywood DI provides workflow consulting and post-production services for studios and independent filmmakers worldwide. The facility’s centerpiece is the versatile Fairbanks Theater, a 33-seat DI suite that offers a 2k DLP projector and a 35mm Simplex projector in a precision-calibrated environment. Offering a full RGB 4:4:4 workflow plus a complete range of 2K and HD editing and color correction tools, Hollywood DI provides the ultimate in creative freedom. Hollywood DI’s FLOworks™ digital content management system provides time and money savings for content creators. ‘Flexible, Lean and Open’ workflows based on SMPTE and international standards allow content creators to leverage the full power of modern distributed computing and cloud based technologies.
Visit www.hollywooddi.com for more information.
About the American Society of Cinematographers
The American Society of Cinematographers is a non-profit association dedicated to advancing the art of filmmaking. Since its charter in 1919, the ASC has been committed to educating aspiring filmmakers and others about the art and craft of cinematography; it accomplishes this by publishing the internationally renowned magazine American Cinematographer and the venerable American Cinematographer Manual, through seminars at schools and industry events, and via one-on-one mentoring. ASC members volunteer their time for such activities. Visit www.theasc.com for more information.
About the Local 600 International Cinematographers Guild
The Local 600 International Cinematographers Guild represents the most talented camera professionals and publicists in the world. The technicians and artisans in our union are the creators of the visual images on the big screen, the television screen and our computer screen. That’s why we’re so excited about offering this site to our members, everyone in our industry and to people everywhere who want to know more about what we do. International Cinematographers Guild members – Directors of Photography, Camera Operators and Assistants, Visual Effects Supervisors, Still Photographers, Publicists and more – are part of the International Alliance of Theatrical Stage Employees. The IATSE is comprised of highly skilled technicians working in film, television, live entertainment, animation, special effects and new media. Visit www.cameraguild.com for more information.
About the Image Interchange Framework
The Science and Technology Council of the Academy of Motion Picture Arts & Sciences is developing an architecture and supporting tools for digital motion picture mastering applications. In development for 5 years by the motion picture industry’s leading technologists and practitioners, the Image Interchange Framework (IIF) is now ready for evaluation by the larger community of those concerned with digital motion picture workflow and color management. Visit www.oscars.org/science-technology/council/projects/iif.html for more information.
