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Tuesday, March 13, 2012

This Article Features Photo Zoom

FotoKem's nextLAB Mobile System.

ALT Systems is an L.A.-based systems integrator that provides compositing, DI, networking and storage solutions to companies like Deluxe, Technicolor, Rhythm & Hues and many others.

In the past few years, the motion picture industry has been thrust into a state of flux like never before, which was due in large part to file-based camera systems replacing film cameras. Over the past 12 months, there have been roughly 10 new camera systems introduced to the market that are actively being used for digital film production. And in today's shooting environment, it's not unusual for cinematographers to use a variety of camera systems on a single project, with each camera bringing its own unique file system. All of these files have their own set of attributes, including compression, noise and color latitude, that require careful processing. These technological advancements have created a quandary as to how to make it all work.

One of the most fluctuating positions affected by these changes has been the DIT (digital imaging technician)—a somewhat new camera-crew position that's the product of digital filmmaking technology. Initially, the DIT ensured that digital files were backed up and distributed for postproduction. They would also collaborate with cinematographers to make sure they were getting exactly the look they wanted. The job responsibilities have advanced to include color correction and dailies creation, which was previously done in a lab or by a member of postproduction.

As it often has been said, "It's a real bad wind that doesn't blow somebody some good," and in that spirit, a handful of companies have made it their business to provide solutions and have created a seamless workflow. Part software, part hardware and part human, these companies not only are creating a workflow for file-based footage, but also are blurring the line between physical and postproduction.

FOTOKEM'S NEXTLAB
Since opening in 1963, FotoKem has been assisting filmmakers by closing the gap between physical and postproduction. Three years ago, FotoKem started a small division called nextLAB. Vice president and general manager of nextLAB, Tom Vice, says nextLAB is essentially "a post system in a remote environment. The aim of the new post house is to support any camera that comes through the door."

According to Vice, nextLAB is focused on supporting file-based cameras both at their facility and in the field using a custom array of hardware and software they call nextLAB Mobile. These systems are capable of performing color correction, syncing sound and processing dailies all on set, without having to physically transport files to the facility. Vice explains nextLAB's workflow is flexible to meet the needs of the production. "Often, we'll have a production rent our on-set system," he says. "DITs will use our system as a media-management system and as a color-correction tool. Then they will pass their files off to a post house that does all the transcoding, archiving, QC and deliverables."

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