“This expansion is another step in the journey we began in 1983,” says Cineric President and Founder Balà¡zs Nyari. “Considering our capabilities and experience in the demanding realm of 4K digital film restoration, a move into providing state-of-the art digital intermediate services is a natural next step.”
The newly expanded facility provides storage and access to more than 240 terabytes of information with plans to increase capacity to a petabyte (1024 terabytes, or one quadrillion bytes) in the near future. Cineric’s Director of Digital Services Daniel DeVincent says data can move around the system at astonishing speeds, and that the only other computer system in the world currently comparable in size and speed is used by the United States government to handle storage and processing of Social Security information.
DeVincent notes that the most common practice today is to down-rez data files to 2K resolution to facilitate real-time DIs while filmmakers are color-correcting and manipulating movie images in other ways. He says that at least 4K resolution is necessary to accurately represent all the nuances and subtleties in colors and contrast captured on each frame of 35 mm motion picture color negative.
“Our experience proves that images that result from 4K workflows in DI look and feel more film like,” says DeVincent. “Filmmakers use those subtleties to compliment the emotions of performances, and audiences can feel and see the difference.”
DeVincent says that Cineric is committed to making a real-time 4K DI workflow an affordable option. He notes that the company has historically offered services on the cutting-edge of technology. The first liquid gate, adjustable gate, and computer-controlled optical printer were developed at the facility. Cineric engineering experts also wrote one of the first software packages designed for preservation and restoration work around 1982.
Cineric pioneered 4K film restoration with CAROUSEL, the 1955 classic film that was produced in CinemaScope 55 mm widescreen format. Cineric scanned each frame at 4,000 lines of resolution to capture all the information stored on the original negative, and performed all color and dye fading corrections, dirt and scratch removal, de-flicker and image stabilization, and other restoration work in full 4K space. The resulting files were output to both film and an HD master file that was used for the production of high-quality DVDs. With their new capabilities, Cineric can provide HD in the 4:4:4 format as well as 4:2:2.
Cineric also explored new frontiers with the restoration of DR. STRANGELOVE OR: HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB, the classic 1964 Stanley Kubrick film. That was the first black-and-white digital film restoration project that employed an end-to-end 4K workflow. Several other feature films are currently undergoing 4K digital restoration at Cineric.
Nyari notes that most new DI projects are much less complex than film restoration projects, which require repairing faded or physically damaged images. He emphasizes that the Cineric staff brings a deep knowledge of analog and digital techniques to their work, which will benefit new and returning clientele with DI projects.
“We are unique in that most of our people have a full understanding of the history of both film and digital technologies,” he says. “We find that this leads to better decision making. Just as important, we love storytelling and understand the concerns of filmmakers. We look forward to putting the tremendous power of our technology in the hands of creative filmmakers.”
Sections: Business
Topics: Press Release City
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