American Cinematographer - January 2010 - 85

As data leaves the set and travels through the Technicolor hub, the company’s Fanfare system plugs into the process to offer a single, integrated pipeline for handling both film-acquired and digitally acquired dailies. By building a solution for dailies coming from either acquisition universe, Technicolor intends to avoid the worst aspects of the process in both worlds; for example, the company will no longer need to re-scan and re-grade film-acquired material that has already been telecined for dailies. Built upon Technicolor’s Bones Dailies technology, Fanfare aims to bring the color, deliverables and archiving pipelines together in a single process. At press time, Technicolor was finalizing the elimination of videotape from the deliverables process, meaning that after initial film scans, the entire approach will be filebased. “In traditional telecine, we make files from videotapes and send those to the customer, but in this workflow, we have files already,” says Bario. “We are well into development on having the ability to take the files this system generates, bake in color and other important factors, and then transport [that new file] as a deliverable. This is more efficient and accurate and saves a generation. Soon, we will have a render farm and a management system that will start making those files in the background while the colorist continues working. We expect to make the first two file formats — Avid DNX and MPEG-2 for standard-def DVDs — by early 2010, and we’ll then refine the GUI [graphical user interface] and add additional file formats.” During AC’s visit, Technicolor demonstrated the real-time, remote-collaboration capabilities of its DI arm, which was recently used to color-correct the teaser for Christopher Nolan’s Inception. The project allowed cinematographer Wally Pfister, ASC to work from Technicolor’s Soho facility, collaborating in real time with colorist Chris Wagley, who was using DaVinci Resolve color-correction technology at Technicolor’s new Hollywood headquarters. After the grading session, 4K data was rendered out at the new building and simultaneously sent to Technicolor’s Pinewood laboratory in London and answer-print facility in North Hollywood for filmouts. Pfister calls the experience “a great convenience that did not exist in the past,” adding that he found the session “flawless, functioning just as if we were all in the same room together.” In keeping with the concept that filmmakers should be able to utilize dailies anywhere, at any time, Technicolor has connected another tool to its hub: HD Dailies on Demand. Essentially, that service allows users to receive and view Fanfare dailies on a standard computer through a secure Web browser or, in a process dubbed Technicolor Remote Grading, a proprietary GUI. The approach revolves around offering content creators an HDquality, high-encode bit rate playback server capable of supporting DMXencoded content, played out any number of ways, with that data then available to the editorial team to maximize their ability to take advantage of earlier work done on those dailies. “Clients get a cheaper encode rate, because instead of making a stribution For international di .com see www.chrosziel Chrosziel GmbH | Klausnerring 6 | 85551 Heimstetten/Munich | Germany Tel. +49 (0)89 9010 910 | Fax +49 (0)89 4470 861 E-mail: info@chrosziel.com | Internet: www.chrosziel.com
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American Cinematographer - January 2010

Table of Contents for the Digital Edition of American Cinematographer - January 2010
