We'll sweat the details

Nearly all of our Authoring and Color Correction work for involves producing a DI or DIGITAL INTERMEDIATE - an idealized version of the film that can be used for DVD/Blu-Ray production, printing to optical film, creating tape masters for broadcast or screenings, web compression, etc. in a nutshell, this means starting from best available source and going through myriad technical treatments to get it prepared for delivery. Properly mastered DI's are flexible productions tools - ready for various other short-term production needs as well as 'future proofed' for long-term digital archiving.

We use DI's to prepare our famously high-quality DVD encoding and compression. Clients can have DI's output onto D-Beta or HDCAM tape masters, or a copy can be copied onto a hard drive or LTO data tape back up for archival purposes.

Of all the myriad technical details, which should be considered in creating a DI? A lot depends on downstream production requirements and the final screening/playback platform.

It's imperative that your production be handled by experts who can suggest the best route to optimal viewing, compatibility, and a future-proof production.

Below are topics to consider for all film and video projects before mastering a DI at Modulus.

COLOR CORRECTION AND COLOR GRADING

Color is essential to the art of moving image for both aesthetic and technical reasons. Modulus maintains a reference Color Correction suite armed with 32-bit color correction tools and high-resolution color monitors.  More information on Color Correction at Modulus.

INVERSE TELECINE FOR FILM-ORIGINATED PROJECTS

Inverse telecine removes frames added when film is transfered to video.  Film transfers done at 29.97 frames per second (fps) benefit in cadence, sync, and display of fast motion when converted back into 24 fps (24p) prior to DVD or Blu-Ray release.

UP CONVERSION TO HIGH DEFINITION

Blu-Ray playback holds a far richer playback source than DVD.  For certain projects, upconverting to high definition actually reduces artifacts and increases visual detail - especially noticable in the mid-black and deep-black areas and with high-contrast areas with fine detail.

DOWN CONVERT TO STANDARD DEFINITION

This can be done in a realtime dub from an HDCAM master to a D-Beta tape or it can be processed in our video suite. DVDs are standard definition, but DVDs created from high-definition sources display fewer compression artifacts and retain a high level of detail in the final image.

LETTER BOXING vs. WIDE SCREEN, LETTERBOX vs. PILLAR BOX

Modulus can reconform your film to be letterboxed at 4x3 or widescreen at 16x9 depending on your needs.  Letterboxing and Pillarboxing are ways of framing the image so that it's ready to display on a certain type of monitor (widescreen or standard).

REMOVE INTERLACING FROM VIDEO

interlaced video shows "thin combing lines" when displayed on a progressive computer monitor. It can be most noticeable during fast motion or panning. Interlacing must be removed and the image must be "smoothed" or else the picture can loose sharpness. Note: For TV broadcast purposes, the original interlacing pattern must be preserved. If the patttern is disturbed (by changing scale or framerate or improper de-interlacing) it may be impossible to recover.

{show an blow up with interlacing problems}

COLOR SPACE

NTSC video on a computer monitor can look "washed out" because the color space has not been considered. Modulus will conform your DI to the correct standards for your particular medium.

{show an LCD and an old TV against color space diagrams? - add BEFORE/AFTER image?}

UP-RES DV TO UNCOMPRESSED VIDEO

DV is a 5:1 compressed video format.  Before MPEG2 encoding it helps to move DV sources to an uncompressed video format.

CONVERT NTSC TO PAL AND VICE VERSA

Video needs to conform to broadcast standards and the gear being used for playback in the particular country it is being sold in.  For a comprehensive chart of international video standards, please look here.  [link to video chart]