Digital Intermediate

Alternatively, the digital images from a digital movie camera used directly. The resulting material is cut and edited digitally ( color correction , CGI , etc.). This produces the so-called DI-master , which both as a template for later digital analysis ( DVD , HD DVD , Blu-ray Disc ) serves as well for the production of copies / master for the analog or digital cinema projection. To create analog copies of the film is exposed on the DI negative film and the resulting negative interaction in the lab copied. Alternatively, the digital cinema projection, a digital master in accordance with DCI created.

Engineering

The DI is usually stored in uncompressed frames. The memory required for this effort depends on the selected resolution and color depth. Common resolutions for photochemical film prints are 1920 * 1080 p , 2K (depending on the format from 1860 to 2048 horizontal pixels ) and 4K (depending on the format 3612-4096 horizontal pixels). For the digital performance are 1080p and the specification of the Digital Cinema Initiatives market-determining.
The number of vertical pixels depends on the aspect ratio of the selected image format used and the exposed surface from the camera.

2K and 4K

The classic 35-mm projection achieved in an independent testing by the International Telecommunication Union, a maximum image resolution of 875 horizontal lines (light-dark cycles). [1] The lion's share of all cinema productions are edited in 2K. Sometimes it is qualitatively reasonable to work with 4K resolution and perform.
From 1990 to 2007 hundreds of movies have been in 2K mastering, now nearly a dozen in 4K. Even in the digital cinema screens are now thousands of 2K globally, compared with only dozens of 4K cinema.
With the availability of new digital cinema cameras with 4K resolution as the RED camera, the 4K production significantly more widespread than previously experienced.
The market share of 2K editing of feature films since the 90s is consistently above 95%. In some cases, higher resolutions are used primarily for visual effects and for restorations.


Data volume

Charges for DI data sets and data rates were originally only comfortable using specific computer systems workable, since it is in the range of terabytes move.
As image data formats are used:
10-bit gamma-encoded RGB 4:4:4 signal (usual format, but a format with no reserve)
10-bit gamma encoded 4:2:2 YUV signal
12-bit gamma-encoded RGB 4:4:4 signal (to replace 10 bit)
16-bit linear 4:4:4 RGB signal
12-bit Bayer matrix nonlinear signal
16-bit linear signal Bayer matrix (usually without loss of L ³ (?) Compressed)
Instead of an RGB color space is used in current production of the XYZ color space that can represent all the existing colors. The gamma value for gamma-encoded signals is 2.6. Bit uncompressed audio is generally stored as 24.

The data sets and data rates (bit 3 × 10) for the smallest RGB format counts. At higher color depths (which are sought), increases the storage space required. By lossless or nearly lossless compression techniques can reduce the memory requirements by about a factor of 2.
The memory footprint refers to 2 hours and cut film. One must however be aware that as part of a film production many times this amount in circulation is:
The produced video footage on the set is usually in the 10 - to 50-fold term of the final film.
In addition to cutting process produces a final version cut a lot of intermediate results and alternative versions.
They want access to source material and other movies with no effort, that one wants to have the entire footage of the studio productions are all in a huge pool (so-called image library).

History

In 1990 the FDI procedure was first used for an entire movie: Beauty and the Beast Special Edition was the first completely digitally colorized and professionally developed film.
In 1993, the first film was restored with an existing DI: The Walt Disney production of Snow White and the Seven Dwarfs , where the original negative was scanned digitally with a resolution of 1937 by 2K/10 (which at that time remarkable for 725 GB of data has shown).
2000, the Coen Brothers film O Brother, Where Art Thou? the first new Hollywood movie and Chicken Run , the first European film, whose copies of the film insert complete master of a DI were created.

In 2002, Star Wars: Episode II - Attack of the Clones , the first film shot entirely digitally, was produced by DI.

In 2004, Spider-Man 2 copies as the first film of a 4K DI-master, but the digital effects were thereby still traditionally produced in 2K resolution and then extrapolated to 4K.
Meanwhile, the DI process has prevailed. Movies that are still being copied directly from the negative without digital intermediate step, have become a rarity. Of the ten most successful films of 2006, the three were animated films created entirely digitally (this one DI master is created without the step of scanning), while the remaining seven live action movies , three of which are partially and one was shot entirely digitally, all on one DI master copies.


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