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André Froelian's digital colorist portfolio

© 2010 André Froelian, Colorist, Holländerstraße 71, 13407 Berlin Germany.
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Digital Intermediate (DI) Colorist Berlin

Digital Colorist Telecine Da Vinci Lustre Baselight

Digital Colorist aus Berlin mit Spezialisierung auf Digital Intermediate, Telecine, Da Vinci, Lustre und Baselight

Colorist für die Postproduktion, Colorist for the Postproduction Postproduktion, Postproduction Telecine Spezialist, Telecine Specialist and virtual telecine Digital Intermediate DI Professional Da Vinci for postproduction specialized (Da Vinci Systems) Lustre (Autodesk) Baselight and Baselight film color grading system Color grading professional for motion picture Freelancer für Film und Farb Korrektur Berlin Deutschland, Berlin Germany Portolio Website of Digital Colorist Recently and new Works Commercial Clips Digital Colorist Feature Films Digital Colorist Showreels About André Froelian, über André Froelian Kontakt Berlin Impressum

digitale Zwischenstufe bei der Postproduktion

Das Digital Intermediate (DI) ist eine digitale Zwischenstufe bei der Postproduktion von Filmen zwischen aufgenommenem und ausbelichtetem Film. In einem ersten Schritt wird hierfür das analog auf Filmmaterial aufgenommene Kameranegativ mit einem Filmabtaster gescannt. Alternativ werden die digitalen Bilder einer digitalen Kinokamera direkt genutzt. Das so entstandene Material wird digital geschnitten und nachbearbeitet (Farbkorrektur, CGI usw.). Dabei entsteht das sogenannte Digital Intermediate -Master, welches als Vorlage sowohl für die spätere digitale Auswertung (DVD, HD DVD, Blu-ray Disc) als auch zur Produktion der Kopien/Master für die analoge oder digitale Kinoprojektion dient. Zur Erstellung analoger Filmkopien wird das DI auf Negativfilm ausbelichtet und das entstandene Internegativ im Kopierwerk kopiert. Alternativ wird für die digitale Kinoprojektion ein digitales Master gemäß DCI erstellt.

Digital Intermediate wird in der Regel unkomprimiert

Das Digital Intermediate wird in der Regel unkomprimiert in Einzelbildern gespeichert. Der dafür nötige Speicheraufwand hängt von der gewählten Auflösung und Farbtiefe ab. Übliche Auflösungen für photochemische Filmkopien sind 1920 * 1080p, 2K (je nach Format 1860 bis 2048 horizontale Pixel) und 4K (je nach Format 3612 bis 4096 horizontale Pixel). Für die digitale Aufführung sind 1080p und die Spezifikation der Digital Cinema Initiative marktbestimmend. Die Anzahl der vertikalen Pixel hängt vom Seitenverhältnis des gewählten Bildformats und der verwendeten belichteten Fläche auf der Kamera ab.

Digital intermediate (typically abbreviated to DI)

Digital intermediate (typically abbreviated to DI) is a motion picture finishing process which classically involves digitizing a motion picture and manipulating the color and other image characteristics. It often replaces or augments the photochemical timing process and is usually the final creative adjustment to a movie before distribution in theaters. It is distinguished from the telecine process in which film is scanned and color is manipulated early in the process to facilitate editing. However the lines between telecine and Digital Intermediate are continually blurred and are often executed on the same hardware by colorists of the same background. These two steps are typically part of the overall color management process in a motion picture at different points in time. A digital intermediate is also customarily done at higher resolution and with greater color fidelity than telecine transfers.

describe a process that started with film scanning and ended with film recording

Although originally used to describe a process that started with film scanning and ended with film recording, digital intermediate is also used to describe color grading and final mastering even when a digital camera is used as the image source and/or when the final movie is not output to film. This is due to recent advances in digital cinematography and digital projection technologies that strive to match film origination and film projection.
In traditional photochemical film finishing, an intermediate is produced by exposing film to the original camera negative. The intermediate is then used to mass-produce the films that get distributed to theaters. Color grading is done by varying the amount of red, green, and blue light used to expose the intermediate. This seeks to be able to replace or augment the photochemical approach to creating this intermediate.

The digital intermediate process

The digital intermediate process uses digital tools to color grade, which allows for much finer control of individual colors and areas of the image, and allows for the adjustment of image structure (grain, sharpness, etc.). The intermediate for film reproduction can then produced by means of a film recorder. The physical intermediate film that is a result of the recording process is sometimes also called a digital intermediate, and is usually recorded to internegative (IN) stock, which is inherently finer-grain than camera negative (OCN).

Digital Colorist

One of the key technical achievements that makes the DI possible is the look-up table (aka "LUT"), which can be made to mimic how the digital image will look, once it's printed onto normal release print stock. Digital Intermediate facilities generally allow comparing the digital image directly to a print on the same screen, ensuring precise calibration of the process.

Telecine Da Vinci Lustre Baselight

The digital master, created during the Digital Intermediate process, can be recorded to very stable yellow-cyan-magenta (YCM) separations on black-and-white film with an expected 100-year or longer life. The digital master is often used as a source for a DCI compliant distribution of the motion picture, for digital projection as well.


Digital Colorist André Froelian · Freelancer from Berlin / Germany
Digital Intermediate · Telecine · Da Vinci™ · Lustre™ · Baselight™