Digital Cinema Conference
Three organizations will be coordinating the Digital Cinema Conference in Oslo: Norwegian Film Institute, IMAGO and the Norwegian Society of Cinematographers FNF.
During the conference, seminars, testing and presentations will be held and discussed with cinematographers.
DIGITAL CINEMA CONFERENCE
Oslo, Norway, Arranged by the Norwegian Film Institute, IMAGO and FNF.
Preliminary suggestion for Program:
Introduction
a) Ms Vigdis Lian, President, Norwegian Film Institute, and Mr Andreas Fischer-Hansen, President IMAGO, welcomes the Conference.
b) Peter Wilson, (Snell & Wilcox UK) Chairman of European Digital Cinema Federation EDCF, Technical Module, introduced EDCF.
c) Jean-Paul Gillet, President International Digital Film Forum introduces IDIF.
d) Lasse Svanberg, Swedish Film Institute, sums up the history of
digital cinema.
e) Kommer Kleijn, IMAGO representative in EDCF sums up the digital development from the Cinematographers point of view.
Pre-production
a) John Chr Rosenlund, FNF, on Defining “Look” for the production.
b) The importance of establishing bulletproof color management and metadata database for the project.
c) Software 3CP http://www.gammaanddensity.com/products/cccp.html
and Kodak’s Preview software for pre-production. http://www.kodak.com/US/en/motion/products/preview/faq.shtml
d) Deciding equipment.
Shooting period
a) Shooting on film or digital equipment.
Mr Jean-Fabien Dupont, Kodak France: Shooting on film
b) Tests screening with Dalsa 4K and Arri D20 3K camera compared with film. ASC representative will talk about their tests with comparisons and tests, which were done in cooperation with SMPTE.
c) Today and the future: 2K, 4K, 6K. 10 Bit and 16 Bit colour depth – or floating 16 Bit – what this means for the creative possibilities and for the result.
d) On-set-Pre-grading to secure the Cinematographers signature throughout the digital process.
e) Mr Richard Crudo, President American Society of Cinematographers, ASC, speaks about the ASC´s effort in the future of digital cinema.
Digital postproduction
a) Digital intermediate and tools: Lustre, Nucoda, DaVinci (and others?)
b) Peter Doyle: Experiences with building his personal software (Lustre)
and his experience of working with different Cinematographers on productions as Harry Potter, LOR, Charlie, King Kong.
c) DryLab, Oslo: Their experiences in beta testing and development of the ArriScan, linear workflow,(where most other Labs work Logarithmic), their experience with Lustre from a Labs point of view, in combination with feature films and advertising.
d) CineVator, new printer from hard disk to negative in real-time 2K.
Projection systems / Cinemas
a) Kommer Kleijn IMAGO/EDCF: Cinemas of the future.
b) Digital projection: Demonstration of Sony’s new 4K projector.
c) Tomas Hoeg, who runs several digital cinemas in Britain , talks
about his experiences with this in 2005.
d) The standard to come: SMPTE or EDCF speaks about this.
e) From Jpeg to Mpeg2000: Revolution of compressing file size?
Storing digital images for the future
a) How to store films for the future generations.
Hard-disk, optical or analogue 35mm film storage?
Conference end
a) Kommer Kleijn IMAGO/EDCF: Summing up the Conference