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PRE-PRODUCTION

  • Pre-Production Meeting
  • Workflow Description
  • Testing

PRODUCTION

  • Digital Imaging (DIT)
  • Data Management
  • Quality Check
  • Dailies

POSTPRODUCTION

  • Conforming
  • Grading
  • VFX
  • Subtitles
  • Mastering

DISTRIBUTION

  • Delivieries
  • Screener
  • Trailer
  • Teaser
  • EPK

From flashcard on set to digital cinema release

Just because something is digital it’s certainly not better. It even seems to become more complex. But digital workflows can help to make things safer, prevent mistakes and eventually increase the quality of the final product.
We have quite some history in dealing with digital image acquisition and managing its data.
And we would like to help you now with this knowledge e.g. regarding on set data management, quality control and subtitled digital cinema packages.
But of course we still like to work with analog film…

Professional colorgrading for cinema, commercials and TV

Together with the director and the DoP we develop the desired and appropriate look. We optimize the picture always according to the final output, may it be the cinema screen, TV or a Blu-ray.
Since we work on a computer-based colorgrading system there is no need for a tape ingest, when the editing is already done in online quality. So we don’t introduce a generation loss compared to traditional tape-to-tape color correctors and we’re almost unlimited in creativity.

But how do we get the pictures on our server ?

When you already have the best possible quality on your online editing system, we tell you how to get the pictures out of it in what resolution (e.g. 1920×1080), colorspace (e.g. RGB or YCbCr) and fileformat (e.g. DPX, TGA) in order to preserve the best quality.

Film: In case you shot on film, 35 or 16 mm, and did an offline edit, we can take care of the telecine or scanning at one of our partner companies and make sure we get the best resolution and file format.

Videotape: We use a high-end uncompressed harddisk recorder to ingest your tape(s) (e.g. DV, DVCpro, HDCAM, HDCAM SR) and store the files on our server without any quality loss.

Files: If your movie already exists as videofile (e.g. RedCode or ProRes quicktime) or frame sequence we simply copy those files onto our server.

And after the colorgrading we offer the same choices as delivery formats, files like ProRes quicktime, digital cinema packages (DCP) or Blu-ray. We generate new files without altering the source material and from that we can play out to any SD or HD video tape format and we can also offer a print to film with our partners.

Workflow-Management: To achieve and to maintain the highest possible picture quality throughout the whole production a lot of things have to be considered from acquisition to postproduction to final delivery. We gladly advise you in the choice of acquisition format or camera setting or consult you about file formats, color depth and compression algorithms – in the best case before production starts, because then we profit from the source material providing the best base for the creative colorgrading. And because a picture tells more than thousand words, we also gladly invite you to have a look at quite a lot of different test and sample footage that we gathered in the recent years from a wide variety of analogue and digital acquisition formats. All played back from uncompressed files and projected in full HD.

Our goal is to find the best workflow for your budget.

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