Film to digital in motion pictures

[OzJohn]

I saw a movie over the weekend (The Imitation Game) that made a special point in the credits of the fact that it was shot on Kodak film. I got me thinking about the process that is used to edit and "print" these modern movies, many of which are still substantially shot on film but "printed" digitally.

Does anyone know how it is done? Is any film actually edited or is it all done digitally? Is the original camera negative in fact the only copy that is on film? Cheers OzJohn

 

[samcomet]

Unfortunately for old hacks like me, film, as a recording medium for motion pictures is on its way out. I fact the last film camera manufactured was a couple of years ago. Today most "camera original" IS digital. If the original is film, it has been standard operating procedure to scan the neg or a work print struck from the neg, to edit in a non-linear (digital) workflow. If a print is required, the neg is cut to conform to the edit made in the digital workflow and release prints are struck. If exhibited digitally the digital edited version is put through colour correction and effects generators before a final digital file is made and exhibited. Film release prints are also colour "timed" to make sure the prints look the way the cinematographer intended. In the "good old" days the camera neg would be printed to a work print for an editor to physically cut up the print and stick it together. When completed the neg would be matched, cut for cut, to the work print. The neg would then be printed to an interneg from which release prints would be struck. This was to keep the original neg from being used and abused. Hope this helps. cheers, Sam

 

[OzJohn]

Thanks a lot for that. Very informative. OzJohn

 

[riots100]

Sorry I'm late for the reply, (I only just recently found this forum)
For features originated on film, the original film negative (OCN) is quickly transferred to some digital format suitable for editing. They could be Quicktime Prores files or Avid DNXhd files. The timecode and film edge code are saved as meta data to these files.

Once the film editorial process "locks" the picture, an Edit Decision List (EDL) is created the relates the locked picture to the sections of OCN material that is used in the finished film. Those sections of OCN are scanned at a higher quality and then those sections are assembled to match the locked picture.

Then with those high quality scans, the assembled feature is color graded in a very high end (and expensive) grading suite. In these suites the color science and viewing environment is very precise. (meanwhile the sound and music are being worked on)

Once this process is complete, the digital files can be rendered to formats for intended distribution methods. I will be rendered for Digital theatrical distribution, DVD and BluRay distribution, streaming, and may be rendered for recording back out to film intermediates for traditional print distribution. Print distribution is rapidly declining and many film recorders are sitting idle.

 

[Doyle Thomas]

the tool used to transfer film to digital is called a "film chain" which is no more than a projector focused on to a sensor and has been around since the beginning of analog video. the other side of the coin is called an "image setter" which will record a digital file on to film.

 

[riots100]

Film Chain technology was obsoleted in the 1980's with the rise of Telecine transfer machines. The first ones where analog, then with the rise of digital video they also became digital. Now they are called Datacines and will record an image data stream to tape or hard drive. You would be hard pressed to find any one who knows about Film Chains anymore.

Film recording is most commonly done with laser film recorders where a tri-color laser scans across the raw stock painting "pixels" on a frame by frame basis.

 

[juan]

20-years ago, I worked at a TV station. They did away with the film chain, and one of the engineers took it home, found some seats from an old movie theater, and set up his own home theater.
juan