Advances in portable digital cinema projection and high-def NLEs are now allowing editorial teams to give their early versions a more finished look, conform them and throw them up on a screen. Traditionally the bottleneck in the process is the conform, a process that generally requires that an EDL be sent out to the post facility where the negative is kept. Enter Avid’s DS Nitris, which is letting editors conform on site in HD. If you’re Michael Mann, editing Collateral, you want the ability to work into the wee hours of the morning making changes to a sequence and then to see your new edit projected the next day without going out of house for a full online edit. " Michael Mann screens a film up to five times a week," says Chad Andrews, a partner at Avid reseller Orbit Digital, which helped set up Mann’s internal preview screening pipeline. Working with L.A.-based Avid reseller KeyCode Media, Orbit stress-tested a Nitris to see if it could play three hours of cut feature without any problems. After about a month of testing, the Collateral production took control of the system.
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