Cinematography-Theory-And-Practice

however, this is only true for first-generation camera original, andonly under ideal conditions. High-res scans are made in dedicatedfilm scanners instead of telecine machines.DI Workflow ChoicesIt often makes sense to scan only the final cut negative, because itmakes little sense to spend time and money scanning material thatmay not even end up in the picture.On projects where the budget cannot accommodate this approach,it is possible to do just a portion of a show using the digital intermediateprocess, while finishing the rest with conventional techniques.Once you have done all the corrections and color balancing, the finalstep is a film-out, where the digital files are scanned back to film tocreate projection prints. If shooting on HD for a film-out, a test ofthe entire post workflow is important.Tape-to-Tape CorrectionIt is important to remember that a Digital Intermediate, as most peopleuse the term, is only necessary when you need a final print for theatersthat still project 35mm film; it is not necessary if your projectwill only be projected digitally, appear on television, the Internet, orother venues that are not film projection.However, shooting on film and then scanning to high-res digitalcan be employed for any type of project. In this case, it differsfrom the normal process of shooting on film followed by telecinein that the files that result from scanning are much higher resolution.In tape-to-tape color correction, once the film footage is transferredto video, and edited, the video is brought back into the same tele-Figure 13.3. A result of cross processingand fluorescent lighting.image control253