It’s been five years now since O Brother, Where Art
Thou ushered in the era of the full digital intermediate.
Since then, the DI has become a fixture both at the high end of the
industry, where A-list colorists manipulating footage shot by A-list
DPs at resolutions of 2K and higher, and on the low end, where indies
make use of desktop tools like After Effects, Final Cut Pro and
FinalTouch to get their DV, HD and 16mm images ready for prime time — or
at least festival exhibition. To keep its reputation up, a DI facility
has to prove itself through experience and stay on top through
effective management of data. Facilities are working hard to keep
processes under control, and hiring new data wranglers to work in a
realm where metadata is everything.
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As directors like Michael Bay (The Island, top) and Tony Scott (Domino,
above) develop their signature looks, facilities like Company 3, which
handled both DIs, work to maximize efficiency in the post-production
process.
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