The Digital Intermediate Paradigm; Video; Photographic Film; Digital Media; Acquisition; Asset Management; Conforming; Color Grading; Retouching and Restoration; Digital Effects and Titles; Output; Quality Control; The Future of Digital Film; Virtual Cinematography
After working for some time in the field of computer animation, Jack went to work for Kodak's brand-new Cinesite Digital Lab. It was the first of its kind anywhere in the world, the aim being to reproduce all laboratory processes in the digital domain. It remains one of the leading post-production houses that uses digital intermediates. While at Cinesite, Jack worked on HBO's "Band of Brothers," which incorporated 10 hours of finished film, all to be scanned, edited and finished digitally. He was a member of the team that established and designed procedures and protocols which later became industry-standard. His core expertise is in establishing workflows of data management, film restoration, and conforming (making sure the final edit matches exactly what the editor of a film has cut--procedures which have widely been adopted elsewhere. Since leaving Cinesite, Jack has worked on the digital intermediates of many feature films including Miramax's "Cold Mountain."
It's a rare techie out can make the whole moviemaking process easy
to understand, but James is one of the chosen few - and it's this
talent that makes his book worthwhile.
Lily Percy & Jennifer M. Wood
- MovieMaker Magazine
Though he's contributed to such films as Neil Jordan's Breakfast on
Pluto, Fernando Meirelles' The Constant Gardener and Anthony
Minghella's Cold Mountain, it was his pioneering work on the Tom
Hanks/Steven Spielberg HBO miniseries "Band of Brothers" that
brought visual effects artist James Jack to the forefront of his
craft. The 10-episode drama pioneered the debut of a new form of
technology, one that would change the quality of broadcast film and
video forever: The digital intermediate process.
As James describes it, the digital intermediate (or DI) process is
essentially an extremely advanced version of Adobe Photoshop. As
with Photoshop, it is the process of taking an image from an
original source (a piece of film, digital image, or even a paper
printout), inputting it into your digital system (either by
scanning or copying the file), making changes to the image and then
outputting it. Sounds simple, right? That's because of James'
ability to break the process down into laymen's terms and explain
how DI can be used with any format and on any budget. It's a rare
techie out can make the whole moviemaking process easy to
understand, but James is one of the chosen few - and it's this
talent that makes his book worthwhile.
Lily Percy & Jennifer M. Wood
- MovieMaker Magazine
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