Hurlbut stresses that after some trial and error, “We found the correct method is to do your color correction first, then bring in Dark Energy—that’s the only recipe for success.”
As for the weak H.264 codec, Hurlbut notes that Dark Energy strengthens it by getting rid of compression. “We’re taking our footage and sending it through Adobe CS5,” he says, “and that, in turn, brings out a latitude in the codec few people have seen before. So we’ve really blazed trails in both production and post.”
Dark Energy is already available in post houses world-wide, including FotoKem and Performance in L.A., Cineric (New York), Digital Film Central (Vancouver), Ascent 142 (London), Éclair (Paris) and ARRI TV (Munich), to name a few.
With its broad applications, Dark Energy is well suited to restoration work, too. “There’s an entire century of content that has to be modernized,” notes Maurer, “and we’re trying to get a foothold in the file-based workflow. We have a very high-quality toolset that allows you to optimize any visual asset for any type of delivery—and think how many platforms are out there now.”
Cinnafilm has been smart in also teaming up with such partners as Quantel (putting the technology in their Pablo system) and Rhozet (putting it in their Carbon Coder), and signing new global resellers to distribute and integrate their products.
“It hasn’t been easy because of the recession,” Maurer admits, “but I believe quality will always win out in the end.”
For more information on Dark Energy, visit Cinnafilm’s website at www.cinnafilm.com.