Creating Multiple Distribution Masters from a Single Source Master
Abstract: Today we are faced with an increasing number of delivery specifications to serve the ever-increasing number display technologies and the viewing environments. Creating multiple finishes for today’s SDR and HDR television formats including BT709, HDR10, HDR10Plus, Dolby Vision, HLG, to standard DCI cinema and the new emerging HDR cinema displays like the 300 nit Samsung Onyx and others is not practical nor affordable. Even if it were affordable and time allowed, maintaining creative consistency across all the deliverables would not be possible. Meeting future unspecified display technologies is also a must.
We will present a proven cutting-edge solution to the above scenarios which has been in use for many years. A system that can adapt to the source specifications without regard to the color space and format, and that can deliver to the many current and future formats from the single source and most important maintain the creative look.
Speakers: Bruno Munger, Director of Business Development, ColorFront & Bill Feightner, CTO, ColorFront
Feightner Bio: Feightner began his career as technical director of Compact Video, before moving on to similar roles at Laser Edit and Composite Image Systems (CIS). He was co-founder and, most recently, CTO and executive vice-president of technology at EFILM Digital Laboratories (part of Deluxe Entertainment Services Group Inc.). At Laser Edit, Feightner created a live, realtime, multilayer VFX compositing system, and continued this pioneering approach at CIS, where he helped to develop the 2K pin-registered telecine system that revolutionized the process of interactive image compositing for feature films.
At EFILM his innovations included: new software for digital laboratory calibration; image processing and image management software; end-to-end, multi-site, collaborative workflow procedures and software; the world’s first fully-digitally timed DI pipeline on We Were Soldiers (2002); and the world’s first 4K DI finish on Spiderman 2 (2004). He was also responsible for the workflow on Extremely Loud & Incredibly Close (2011), the first US feature to shoot and post using the ARRIRAW format. During his time at EFILM, Feightner worked closely with Colorfront, harnessing the company’s technology on many projects.
Feightner has earned multiple awards. In 2007, he received a technical achievement award from the Academy of Motion Picture Arts and Sciences (AMPAS) for the creation of a Digital Color Separation process for the archival of motion pictures. He also received an Emmy Award for special effects work on the TV series Moonlighting, plus a Monitor Award for the opening segment of The Magical World Of Disney. In 2013, SMPTE awarded Feightner the 2013 Technicolor/Herbert T. Kalmus Medal, which recognizes outstanding contributions to the highest standards of quality and innovation in motion picture post-production and distribution services.