Post Magazine

March 2012

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By Christine Bunish It may be time for digital intermediates to have a name change. Initially coined to describe a digital approach to a film process (i.e., the digital intermediate between film scanning and film print recording), it has arguably come to mean something different today. "DI doesn't just mean digital intermediate anymore," says Neil Smith, managing director of Hollywood DI. "It's now a more generic term for digital post produc- tion. It's all about shooting digitally and getting that content into editing, color, VFX and audio in the most efficient way. The whole process of digital acquisition and file-based workflow is modern DI." HOLLYWOOD DI The DI process has undoubtedly evolved and so have its key tools. "The business is changing," Smith says. "There are still the big boys with [Quantel] Pablos and [FilmLight] Baselights, but there are viable alternatives for indie features, TV shows and the emerging indie stereo 3D market that don't compromise on function or the talent of the colorists." When Hollywood DI (www.hollywooddi.com) opened in West Hollywood in 2005, it decided to focus on digital acquisition and file-based workflows. The company invested in Assimilate Scratch and Apple Color, which worked well for its client base. Smith admits to being skeptical when Blackmagic bought DaVinci and re-engineered the software for the Mac leveraging Nvidia's CUDA architecture. Siggy Ferstl of Company 3 called on Resolve for the 2D and 3D versions of Underworld: Awakening. See page 22. 20 Post • March 2012 www.postmagazine.com

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