In today’s world, workflow is all about choices. Workflow is a set of processes, employing people, hardware, and software to help filmmakers bring their visions to life. At the highest level, all motion picture workflows tend to follow the same basic path: the pre-production phase, the production phase, the post-production phase, the distribution and exhibition phase, and lastly the storage and archiving phase. Every production, whether it is targeting television, commercials or feature films goes through these phases, albeit to a different degree.
Historically, the typical workflow began in the planning stage with pen and paper. Film was the standard interchange format for most workflows. Features were shot on film. Edited negative littered the cutting room floor. Intermediates were made of the final production. Multiple prints were generated for distribution and exhibition. Finally the original negative became the archiving medium which enabled long term storage. Film was the standard which carried across all the steps of the process. Because of this workflow, decisions were far simpler. Now, there are far more choices – from scene to screen to archive – and with that an increase in complexity.
At Cinesite, we’re committed to developing the next generation of visual effects talent. As such, we just launched our new Inspire Programme, an annual internship for graduates. We devised the Inspire Programme in response to a lack of formalised visual effects internship programmes for students.
Inspire offers a six-week paid placement at the company’s Soho facility and the opportunity to gain invaluable experience working alongside some of the industry’s most experienced visual effects professionals on blockbuster films.
Antony Hunt
Managing Director
Executive Visual Effects Producer
Visual Effects Supervisor
Managing Director Antony Hunt, joined Cinesite (Europe) Ltd in early 2003 and has worked on numerous feature films including those with award winning visual effects; Gladiator (Oscar) and The Golden Compass (Oscar and BAFTA).
Dynamic range refers to the ratio between the smallest and largest possible values of a quantity, such as light. The human visual system has a very high dynamic range. Although it takes time to adapt to different lighting conditions, we can see objects in a wide range of lighting situations, from very dim conditions up to bright sunlight.
In the realm of photography, "dynamic range" refers to the luminance range of a scene being photographed. With the advent of KODAK VISION3 Color Negative Films, our motion picture films can capture up to 13 stops of scene content. These advances have been enabled through the use of our Proprietary Advanced Dye Layering Technology which delivers reduced grain in shadows which in turn yields higher signal-to-noise ratios when scanning low-light scenes. Our Extended Highlight Latitude Technology delivers greater flexibility when lighting extreme situations, and enables up to two stops more image information to be extracted from scene highlights.
CJ Johnson is the Product Manager for Kodak’s motion picture color negative film portfolio. In his role, CJ drives the commercialization of new color negative products and oversees the company’s portfolio of software products used in the motion picture postproduction industry. Prior to joining the Entertainment Imaging division, CJ worked in the electronic display and consumer color negative film business. He received a BS degree in Chemical Engineering from Clarkson University and an MBA from the Simon School of Business at the University of Rochester.
