Student Services Guide - FotoKem

made with built-in corrections.
• Answer prints (the fi nal approved print after color timing) are typically made from the cut original camera negative using the lab color
timer’s instruction. They may also be printed from a composite negative, created with a laser scanner from conformed fi nished
digital acquisition fi les. If the negative is created by a laser recorder, all optical and color correction information applied to the digital
master will be recorded to the conformed archival negative.
DIGITAL MASTERING
• Traditionally, the inter-positive or inter-negative fi lm element is used in telecine for the creation of the digital master. In the process of
telecine mastering it is important to realize that extensive scene-to-scene color correction will be required. This is because the fi lm’s
fi nal color timing, as applied to the creation of the intermediate fi lm element for printing, will not directly correlate to video color space.
• If originated on HD videotape, tape-to-tape color grading will usually occur after online assembly. If origination was fi le-based, HD,
2K or 4K data, an HD conversion video master may be used for tape-to-tape color grading.
• For full resolution fi nishing of RAW acquisition fi les (higher than HD resolution), original RAW image fi les will require rendering to an
uncompressed fi le format such as .dpx, Open EXR, or other uncompressed fi le format. These uncompressed fi les offer the highest
possible picture quality to the Digital Intermediate (DI) process. This method of fi nishing is signifi cantly more expensive than fi nishing
with rendered HD fi les, but it yields the highest possible quality archival master.
• If you plan to accomplish color correction in an off-line editorial platform, FotoKem highly recommends that a ‘fi nal’ color grading
pass, in a fully calibrated environment, with a professional colorist, be accomplished. Especially if the fi nished master is to be
projected digitally in a theater, or broadcast to SMPTE specifi cations.
NEW ACQUISITION TECHNOLOGIES
• Although some new acquisition technologies allow for native ingest into editing systems, some pro-sumer devices such as Go Pro,
5D, 7D, etc. may not be as easily introduced to the workfl ow as many pro-sumer cameras do not generate time code. Therefore
it is important to identify, in pre-production, the appropriate dailies workfl ow, sound sync procedures, and QC requirement. Other
considerations include archiving, data management, data integrity, codecs, color-space, offl ine vs. conform resolutions, and many
other technical considerations that extend beyond the scope of off-line editorial. Consequently it is still essential, especially for
multi-camera long-form projects, to partner with a professional post production facility to ensure all the bases are adequately
covered. http://www.fotokem.com/resources/cameratypes.php
CONTACT
• Main Number: 818-846-3101
• Student Services: ext. 558
• Sales: ext. 520
• nextLAB: ext. 406
• Telecine Scheduling: ext. 366, ext. 412
• Production Services: ext. 825
• Questions: education@fotokem.com
• Website: fotokem.com
• Address: 2801 W. Alameda Avenue Burbank, CA 91505
www.fotokem.com
© 2012 FotoKem Industries, Inc.