Chapter 4The Color-Space Conundrum
The Beginnings of the Digital Intermediate
When John Schwartzman, ASC wanted to avoid the resolution-degrading optical blowup of the 2003 film Seabiscuit, he took the Super 35mm footage into a digital-intermediate suite at Technicolor’s digital image (DI) facility, Technique (now known as Technicolor Digital Intermediates, or TDI), where the process was accomplished in a computer. Though the digital era was in its infancy, its tools offered cinema-tographers unprecedented control over their imagery. And new digital tools—file formats, projectors, lookup tables, cameras, algorithms for color sampling, compression and conversion, etc.—were being developed at a breakneck pace. As manufacturers ...
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