sundance 2006 - Zoael

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Archiving 4:3 Small Format Images Into The Widescreen 16:9 World BY PHILIP VIGEANT As the world moves from the traditional 4:3 space of conventional television, amateur moviemakers and small format film producers must decide how to exist in a 16:9 universe. How do you fit your square image world into the rectangular displays of the future? Since most small format images were shot in 4:3, our world and the world of archiving must address these issues as we look into the future of preserving and presenting this picture. PRESENTED AT AMIA CONFERENCE For 25 years, I have been at the center of this great debate—whenever a production called for Super8 film, a 4:3 medium to be used in 35mm theatrical productions. Although the focus has always been on resolution and techniques of getting resolution, it can’t be overlooked without tremendously compromising one of the most important issues: You have a square original you want to use in a rectangular presentation. If you shot something in Super8 and you want to use it in a theatrical feature, you have to make a decision about how you’ll present a 4:3 picture in a rectangular display. This is the same dilemma now faced with every archive of 4:3 images including every picture ever used or shot in traditional video and 16mm film. How do you archive and display images originated in a square in a rectangular display? Technically speaking, there are only 3 options: � You can crop the square into a rectangle by blacking out the top and the bottom of the picture. This technique commonly referred to as matting. The top of the 4:3 film frame is repositioned to the top of the enhanced for widescreen frame. The resulting transfer gives the same head room of the original and all of the cropping is done from the bottom. This technique will work for a majority of images because most images are framed for head space. � You leave the square in the rectangle by matting the sides of the rectangle so that there are black mattes on the sides of the image. This is known as using side panels or windowpane. � You can take the image and squeeze it onto the video. This technique is referred to as anamorphic in film and more commonly known to the public on DVDs as “enhanced for widescreen.” You are still cutting off the top and the bottom of the image but you are also filling the video with picture. The resulting image must be unsqueezed when it is presented. In my experience with feature film and feature filmmaking, the idea of matting the screen has never had much appeal. Most viewers would not tolerate this in a theatrical presentation and most people are annoyed when they are forced to watch their televisions with part of the viewable screen obstructed. For this reason I believe that enhanced for widescreen is the best option unless artistic reasons are present to use mattes. If you decided to do an enhanced for widescreen master, you are committing to cutting some of the image and so it is important to understand how that is going to be done. Having done this many times it is readily apparent that cutting equal parts of the bottom and the top is usually not the best choice. For years we have been doing these type of transfers called “top frame justified.” In this technique, the top of the 4:3 film frame is repositioned to the top of the enhanced for widescreen frame. The resulting transfer gives the same head room of the original and all of the cropping is done from the bottom. This technique will work for a majority of images because most images are framed for head space. In a situation where the 72 “Enhanced for widescreen” cuts off the top and bottom of the image,but fills the video with picture (left) while photo below is full frame. aesthetic is more critical, individual scenes can be reframed to maximize the look of a particular scene. This reframing has been done for years to fit the rectangular image of theatrical films into the square of television through pan & scan. This same equipment and function can now be used in reverse to fit the square of small format film into the rectangle of 16:9. Systems like the da Vinci that support scene-to-scene color and exposure correction also support framing changes on a scene by scene basis. For those who cringe at the idea of throwing something away when doing archiving, one solution is to do dual or multi-masters. Multiple masters can be created at the highest quality at time of transfer. During a typical transfer, the majority of time is need to do color correction and a much smaller time is dedicated to actual recording. It is at this point in the process that recording a second pass can be created on the original in the format of choice by recording once in full 4: 3 and then laying down the image again in enhanced for widescreen. For example, a scene-to-scene transfer of one hour of material at Pro8mm is done in three hours of time: Two hours are dedicated for correction and one hour for recording. If a second master is created during scene-to-scene transfer, the additional cost is only one hour of transfer time. Multiple masters can be created as well between video standards like PAL and NTSC or framing like enhanced for widescreen, 4:3, matted and in the future HD. Although not very popular, there will be some archiving that will finally see the original which was produced in rectangular space in its proper glory. On very rare occasions, people did shoot in anamorphic squeeze like in the theatrically release film Flatliner. The Super8 footage was shot in 2:35 anamorphic and these images can now be presented outside the confines of the square. Nowhere is this more exciting then in theatrical release where remastering is bringing audiences at home in touch for the first time with the artistic framing quality of the originals. In addition, many projects which were originated in Super16 with an original aspect of 1:68, only require slight cropping when doing enhanced for widescreen. Looking towards the future of small format, new ideas must realistically align themselves with the future of media. Such a format is MAX- 8, a new widescreen format introduced by Pro8mm last year. MAX-8 will become a standard for Super8 that looks to the future of small format film by originating in 1:58. Enhanced for windscreen mastering has certain advantages over matting or full frame. Since all the video space is being used, it has the best image quality. Since the framing has been defined, any up-rezzed to HD or back out to 35mm film will only be about formatting not formatting and framing. Whenever I work a project that has a 4:3 original, I know that the closer I can get to what is going to be used in the final presentation, the greater my chances of seeing that image used in the final project. Enhanced for widescreen uses videos margin of error known as under scan built into the system so that you can carefully monitor the framing during transfer without having to reset if the frame line drops into picture space. Because many displays are not 100% accurate in matting, there is sometimes a different width of matte on bottom and top which aesthetically is quite distracting. The biggest challenge is actually less technical and more about understanding the output environment. I have recently learned that commercial DVDs can now be encoded with a flag to adjust the output of an enhanced for widescreen master to automatically matte the output when the image is set up to play on a 4:3 display. This to me was the clincher: All future projects that I do would be mastered in enhanced for widescreen format. That is until I can master on HD. Philip Vigeant is President of Pro8mm (www.pro8mm.com).
RESTORATION & MASTERING SERVICES DIRECTORY ARCHIVING • PRESERVATION • FILM & VIDEO SUPPLIES & EQUIPMENT DTS DIGITAL IMAGES Formerly Lowry Digital Images 2777 Ontario Street Burbank, CA 91504 818-557-7333 digitalimages@dts.com www.dts.com/digital_images/ DTS Digital Images is a market leader in the digital restoration and enhancement of moving pictures. They deliver stunning quality using groundbreaking algorithms developed by visionary founder John Lowry. DTS Digital Images has restored more than 100 of the world’s most recognized feature films with output to DVD, HiDef, 35mm film, and IMAX ® . The company specializes in solving difficult imaging problems like flicker, color breathing, dye fade, misregistration, film damage, dirt, grain buildup and lost detail. DTS Digital Images also works its magic on movie and television projects in production today, salvaging shots damaged in camera, in the lab, or even in the airport X-ray scanner. IVC FILM DATA CENTER 2777 Ontario Street Burbank, CA 91504, USA 818-569-4949 contact: Dick Millais or Peter Dana www.ivchd.com IVC is one of the world’s largest facilities for Digital Intermediate and Digital Cinema Mastering, with a 20year reputation for technical excellence. IVC’s services include: 4K / 2K film scanning; film-to-HD; data-to-HD; 35mm filmout; advanced digital restoration; quality assurance, and conversion for worldwide technical deliveries. IVC’s client list includes every major Hollywood studio. CHACE AUDIO 201 S. Victory Blvd. Burbank, CA 91502 818-842-8346 Founded in 1 9 8 4 , Chace has earned a world-wide reputation as a leader in audio preservation and restoration. Chace offers a full range of services for the sound restoration and archive community including: sound restoration featuring NoNoise © , Audio Cube and Pro-Tools, transfer/digitization services with 86 formats in-house, many of them obsolete. Optical sound negative transfers with COSP-Xi, proprietary techniques for the rejuvenation and playback of distressed magnetic sound film and audio tape. Whether you have one tape or an entire library, every project benefits from the personnel and specialized equipment available only at Chace Audio. CINEWORKS DIGITAL STUDIOS INC. 6550NE 4th Court Miami, FL 33138 305. 754. 7501 888.724.FILM (toll free) www.cineworks.com vinny@cineworks.com Cineworks Digital Studios Inc. is a high end post facility and a professional motion picture laboratory, all under one roof. Specializing in color correction, we are located in Miami and services the South East with three Telecine Suites with DaVinci color correctors, doing supervised work and dailies to all Video tape formats including HD, and HDSR and streaming media. The facility also offers editorial services, color correction, formatting and mastering of feature films originating on film or Video to HD in its Digital Theater. Projecting an NEC 2K HD image, Cineworks also offers Film outs for commercials as well as features. Pal and NTSC conversions and up and down converts of HD material are offered on the Teranex Xantus. For quotes and inquiries call Vinny Hogan. COLORLAB CORP. 5708 Arundel Ave. Rockville, MD 20852 301-770-2128 27 West 20th St., #307 New York, NY 10011 212-633-8172 email: info@colorlab.com website: www.colorlab.com Colorlab offers motion picture laboratory and telecine services with a focus on film preservation and restoration. We offer both film-to-film and film-to-tape preservation from 35mm, 16mm, Super 16, Super 8, 8mm, 9.5mm, and 28mm acetate and nitrate base film. Our custom-designed Super 8, 8mm and 9.5mm gates for our Rank Cintel telecines enable us to perform broadcast quality film-to-tape video mastering. Liquid-gate contact and optical printing are available for creation of polyester preservation masters. Replasticizing is available for rehabilitating shrunk, curled, or brittle film. Rewash is available for removing dirt and masking scratches. Our recent preservation projects run the gamut of early American silent cinema—from 9.5mm through 28mm and 35mm. We use the Desmet Method of reproducing tinting and toning. Having telecine and optical printing preservation capabilities under the same roof allows us to accurately evaluate tinting logs for color matching when working from black and white negatives. The Archival Preservation Department at Colorlab regularly makes presentations at the Orphans Film Symposium and the Association of Moving Image Archivists annual conferences. We also participate through preservation donations in the grant projects funded by the National Film Preservation Foundation. MOVIOLA 1135 N. Mansfield Ave. Los Angeles, CA 90038 323-467-3107 Education Center: 323-467-1116 email: info@moviola.com email: edu@moviola.com www.moviola.com Contact: Michael Mostin Known for creating the film industry’s first-ever editing machine in 1924, Moviola continues to build on tradition while paving a path to the future. Today, this can be seen by the company’s unique ability to serve the ever-changing needs of post-production, feature film and television’s discriminating professionals with divisions devoted to sales, rentals and education. Moviola has always believed in fostering editors’ artistic endeavors, enabling them to break new ground with cuttingedge digital tools and providing advanced educational courses to keep them at the pinnacle of their craft. BROADWAY VIDEO 1619 Broadway, 9th floor New York, NY 10019 212-265-7600 www.broadwayvideo.com Contact: Dirk Van Dall Broadway Video, New York City’s premier independent post-production facility, producer of TV and film entertainment, and distributor of content, also provides expert encoding services and digital restoration of video and film with full sound restoration and mixing. The company’s experienced artists transform problematic content to remarkable clarity in a full-service, cost-effective environment. Its expansive encoding services are in demand for broadcast, archive and all emerging digital technologies. Broadway Video has provided restoration and encoding services for a wide range of clients and projects including: Music Choice and Showtime Networks, Saturday Night Live, and classic films such as Lina Wertmuller’s Swept Away and The Seven Beauties.
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SUNDANCE INSTITUTE 25th • SLAMDAN
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www.filmfestivalreporter.com 212-26
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It’s the SilverAgeof theInstitute
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Sundance: Swag, Stars, Snow, Skis a
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Sundance Institute At 25 CONTINUED
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INTERVIEW BY EDDY GILBERT HERCH MAR
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La Tragedia de Macario Pablo Veliz
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Sundance Speaks All Languages BY SA
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Sundance Thinks Globally CONTINUED
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AMERICAN HARDCORE (Paul Rachman, U.
Page 22 and 23: Sundance Independent Picks CONTINUE
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Page 26 and 27: BY LILY HATCHETT AMERICAN HARDCORE
Page 28 and 29: A Rambunctious Twelve Year-Old BY S
Page 30: BY GILL HOLLAND THE INDEPENDENT FIL
Page 33 and 34: are tightening their grip. Tamperin
Page 35 and 36: BY SANDY MANDELBERGER WHILE MIAMI M
Page 37 and 38: The European Film Market is moving
Page 39 and 40: INTERVIEW BY SCOTT BAYER DAWN HUDSO
Page 41 and 42: BY JOSE MARTINEZ EVERYONE KNOWS THA
Page 43 and 44: JANUARY BELOIT INTERNATIONAL FILM F
Page 45 and 46: HUMAN RIGHTS NIGHTS FILM FESTIVAL 3
Page 47 and 48: NEWPORT BEACH FILM FESTIVAL 4/20to
Page 49 and 50: NANTUCKET FILM FESTIVAL 6/14 to 6/1
Page 51 and 52: ASPEN FILM FEST 9/28 to 10/2 Aspen,
Page 53 and 54: MT. SHASTA INTERNATIONAL FILM FESTI
Page 55: Aging Like A FineWine A Very Good Y
Page 59 and 60: From Max’s to Moogs Plucking hist
Page 61 and 62: BY PETER BRODERICK VIDEO DEALS THE
Page 63 and 64: Maximizing Distribution Pt. 2 CONTI
Page 65 and 66: And Now a Plot Point from Our Spons
Page 67 and 68: Koch Lorber: Art House on DVD Reviv
Page 70 and 71: Archivists Take Over the World AMIA
Page 74: Iron Clad Preservation Starts When
Page 77: High Quality Cost Effective Options
Page 80 and 81: Comic Relief The DI Pie In The Sky
Page 82 and 83: Good Color Space in Miami BY SCOTT
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Page 93: 31derful Flavors BY MICHAEL SILBERG
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