Film post-production is not just about the editing, sound design, VFX and DI processes. It is the workflow at the end of the above processes that if got right, makes ‘all the’ difference for the screening of a film in the theatre; more than ever in today’s era of Digital Cinema where technology is evolving constantly!
Most student filmmakers are mainly fascinated with the selection of the cameras that they are shooting in, the audio-visual editing aesthetics and the color correction during the DI stage.
But what exactly happens AFTER DI and audio mixing?
Do the files come back to the editor?
Who is responsible for the final audio visual syncing and theatrical exhibition?
How do we ensure that the audience across the oceans see the uniform color and look that we strived for during the shoot and post processes?
How does it reach a theatre/multiple theatres across the globe at the same time?
How do the theatre calibrations affect the sound and visual delivery?
For the benefit of the students, a Master Class was conducted by the Annapurna College Editing Department, where Kishore Reddy, General Manager, Marketing and Operations, Qube Cinema Technologies, held an interactive and engaging Master Class session titled – “Why Digital Cinema,” where all these questions and more were answered along with a historical perspective. Qube Cinema is a company that has vast experience in the production, post-production and exhibition industries. A subsidiary of India-based Real Image Media Technologies, Qube Cinema draws on decades of domain expertise in the media and entertainment space.
The specialised technical Master Class workshop was for the senior edit, cine, sound and MBA students and covered varied topics like Necessity of Digital Cinema and DCI, Process workflow of Digital Cinema (finishing and distribution stage), Pipeline from the DI post facility to the theatre screens, brief overview of the different stages, Colour and delivery standards/ parameters + Cross conversions, Standardisation, Prevalent data packaging formats (DCP, DCDM, etc.), Servers (QUBE, SCRABBLE, UFO, etc.), Understanding different types of audio calibration in theatres (Dolby – 5.1/ 7.1/ Atmos/ Auro, etc.), Projectors, Digital Theatre Broadcast (transmission) and decryption, etc.
Adherence to intense encryption methods/processes and regulations for data security was stressed, with case studies of film piracy. Business models for producers and distributors were also discussed.
Students thoroughly enjoyed the Master Class and interacted with Mr. Kishore Reddy to learn more about the field of theatrical exhibition. He also discussed about the DCP options available to the student filmmakers.
