The Desktop DI, Part II

NLE systems, stand-alone compositors and plug-ins help editors become colorists

By George Avgerakis

Rob Carroll, President & CEO of Cine-tal, a manufacturer of color-calibration software for television and feature-film production, likes to think long-term. “Our business has been through a lot,” he says. “We spent years understanding and improving compression technology. We’ve been through the format transition from SD to... Read more

The Desktop DI, Part I

In part one of a two-part series, HDVideoPro explains DI versus color correction, as well as examines new desktop DI hardware

By Ian Blair

The story of digital intermediate (DI)— desktop or otherwise–begins with the DP. If you ask a typical Hollywood director of photography about color correction, he or she usually will reply, “Shoot for the look you want and don’t expect the colorist to ‘fix it in the mix.'” If a DP fails to shoot a scene to the ultimate... Read more

The Quest For Uncompressed

Creative studio Mind Over Eye delivers uncompressed HD from production through post

By Loren Blake

The pursuit of uncompressed HD for uncompromising high-definition production quality has made Mind Over Eye one of the West Coast’s most cutting-edge commercial production facilities for its national clients. Its creative director/co-owner, Bill Wadsworth, and his partners have built Mind Over Eye from a home studio service in Hermosa Beach, Calif.,... Read more