4. Postproduction
• Post production Supervisor
• Sales Agent/Sales Company
• Delivery Agent
• Distributors
• Exhibitors
5. Post Production Supervisors
• Post Production Supervisors are responsible
for the post production process, during which
they maintain clarity of information and good
channels of communication between the
Producer, Editor, Supervising Sound Editor, the
Facilities Companies (such as film labs, CGI
studios and negative cutters) and the
Production Accountant.
6. • Although this is not a creative role, it is pivotal
in ensuring that the film’s Post Production
budget is manageable and achievable, and
that all deadlines are met. Because large
amounts of money are involved, and most of a
film’s budget is spent during Production, the
Post Production period can often be difficult
and challenging.
9. What is DI
• Digital intermediate (typically abbreviated to
DI) is a motion picture finishing process, which
classically involves digitizing a motion picture
and manipulating the colour 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.
10. • 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.).
• 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.
12. What is a LUT?
• In the film industry, 3D LUTs (lookup tables)
are used to calculate preview colors for a
monitor or digital projector of how an image
will be reproduced on the final film print.
13. • A 3D LUT is a 3D lattice of output color values.
Each axis is one of the 3 input color
components and the input color thus defines
a point inside the lattice. Since the point may
not be on a lattice point, the lattice values
must be interpolated, most products use
trilinear interpolation.
15. • Cubes may be of various sizes and bit depths.
Often 17x17x17 cubes are used as 3D LUTs.
The most common practice is to use RGB
10bit/component log images as the input to
the 3D LUT. Output is usually RGB values that
are to be placed unchanged into a display
device's buffer.
16. What is DIT
• A digital imaging technician (DIT) works in
collaboration with a cinematographer on
workflow, systemization, signal integrity and
image manipulation, to achieve the highest
image quality and creative goals of
cinematography in the digital realm.
17. • A DIT's role is especially prevalent with the
widespread use of HD technology, in assisting
cinematographers normally accustomed to
film stock in achieving their desired look. They
may also be in charge of transferring and
managing the image data, replacing the
traditional film clapper loader position.
18. • The Digital Imaging (or Image) Technician is a relatively
new position on a motion picture set. It was created as
a response to transition from the traditional film
medium into digital cinema, which utilize various
formats like HD.
• Since video reacts much differently than film in many
situations, the DIT's job is to work with the
cinematographer and help achieve the best results.
This includes but not limited to: monitoring
exposure, setting up "look up tables" (LUTs), set
camera settings, and media management.
19. What is CDL
• The American Society of Cinematographers
Color Decision List (ASC CDL) is a format for
the exchange of basic primary color grading
information between equipment and software
from different manufacturers.
20. • The format defines the math for three
functions: Slope, Offset and Power. Each
function uses a number for the
red, green, and blue color channels for a total
of nine numbers comprising a single color
decision.
