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This site was designed, built and managed using dp.tv by Digital Pictures Interactive The Bank Job

Melbourne - Digital Pictures recently completed work on Roger Donaldsons box office hit, The Bank Job (premiering in Australia 31 July). Shot on the Arriflex D20, the film was one of the first feature projects to use the camera and certainly a first for Roger and Digital Pictures. Choosing to shoot in this format enabled him to work in Australia, on a project filmed in the UK.

With the introduction of digital, Directors are now finding themselves in a unique position as their choice of post-houses goes global. With government incentives, favourite editors and plain old convenience, Directors no longer need to rely only on local providers. As a result, the most organised post-houses are investing in their technology and upgrading their systems to ensure they can handle whatever technology requirements their Director clients throw at them.

At Digital Pictures, our research into the most relevant approach to the Digital Intermediate process has been happening for the last five years. The technology has been evolving, the market desire has been growing but the volume is only just now being realised, commented General Manager John Fleming.

In some ways The Bank Job helped us crystallise our future direction. Hence a commitment to Autodesk and to the development of systems capable of dealing with digitally acquired images.

Digital Pictures now has two Lustre Master Stations and a Lustre Assistant Station attached to a Bright Systems SAN; in total around 26TB of storage. The high speed Infiniband network connects the Lustre to the Smoke and Flame systems along with the VFX and Animation studio at Iloura.

With five feature projects currently in the system, the network speed and storage is vital Fleming added.

Nic Smith, Digital Pictures DI Technical Director commented, we also have a number of specialised workstations to handle data importing and exporting, especially important for systems like RED and the Photron high speed data camera recently used on the Schweppes campaign. Some of those shots were 9,000 frames per second. Thats a lot of data to manage.

All of this technology is critical for the Directors vision to be realised. During post-production on The Bank Job, Roger would say what does the shot look like out of the camera? For each new digital file format, interpreting the image files into a form that will grade and then emulating the look as it will be on film, takes time and skill to get exactly right. This is where butterfly tests between digital and film along with Rising Suns Cinespace colour management system are invaluable.

Getting the look is a team effort. Certainly the colourist is the driver but the technical team play a surprisingly important part in ensuring the look can be delivered and indeed fundamental to creating custom looks for individual projects. Other projects like the upcoming Academy Award winner Adam Elliott's stop motion feature film, Mary & Max really appreciate this approach.

It was also critical for Roger and his team to be able to relax and work at their pace. Working on the picture was fantastic. My team and I were provided with two Avid suites and post production offices at Digital Pictures. We were able to move between the DI grading theatre, VFX and the edit suites without leaving the building which meant we weren't held up travelling around town when we needed to spend the time working. Our colourist and his support team at Digital Pictures went the extra mile to make sure we got exactly what we wanted - and we were pretty demanding. The results on the screen look fabulous, enthused John Gilbert ACE, Editor on The Bank Job

Digital Pictures Arrilaser film recording service continues to be an important part of providing a total solution. Tony Poriazis, Digital Pictures Head of Film Recording Services comments For all the conjecture about the life of film, our recorder has been non stop for the last few years. The trend towards shooting out multiple negatives as an alternative to paying for expensive Interpos and Internegs may see us expanding this service to cater for increasing demand.

Although we wont fully realise our strategy until we move into the new building in early 2009 we have made a strong commitment to Autodesk for digital grading and an interoperable post production environment. We believe this will allow us to be flexible and affordable but at the same time world class said Fleming.

Weve now also committed Rising Suns Cinespace Colour management system. We have worked with RSP to develop a process that is giving us the accuracy that we are demanding.


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