Digital Cinema Lab: SMPTEseminar
Crew and Technicolor consultant discuss the "new digital workflow" behind Steven Soderbergh's movie "Ocean's Twelve." They did not see any celluloid at all until the very end of post production, all dailies were digital, with 2K dcinema projector on location throughout for cinema quality digital preview.
Snip from panel description:
Ocean's Twelve took digital technology on the road in its globetrotting production. The filmmakers used HD dailies and 2K projection on location in Chicago, Amsterdam, Rome and Lake Como. Back in Hollywood, the picture finished with a true 4K digital intermediate. Sound editing and re-recording were accomplished entirely with ProTools. Long-time Soderbergh associate Larry Blake, leads the discussion about the making of this film, joined by Greg Ciaccio of Technicolor and Terra Bliss of Efilm.
(sent from my Treo handheld)
Xeni Jardin
xeni@xeni.net
vanity site: xeni.net
blog: boingboing.net
Digital Cinema Lab: SMPTEseminar
Crew and Technicolor consultant discuss the "new digital workflow" behind Steven Soderbergh's movie "Ocean's Twelve." They did not see any celluloid at all until the very end of post production, all dailies were digital, with 2K dcinema projector on location throughout for cinema quality digital preview.
Snip from panel description:
Ocean's Twelve took digital technology on the road in its globetrotting production. The filmmakers used HD dailies and 2K projection on location in Chicago, Amsterdam, Rome and Lake Como. Back in Hollywood, the picture finished with a true 4K digital intermediate. Sound editing and re-recording were accomplished entirely with ProTools. Long-time Soderbergh associate Larry Blake, leads the discussion about the making of this film, joined by Greg Ciaccio of Technicolor and Terra Bliss of Efilm.
(sent from my Treo handheld)
Xeni Jardin
xeni@xeni.net
vanity site: xeni.net
blog: boingboing.net