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Digital intermediate (typically abbreviated to DI) – Modern digital technology of film, eliminates the need for the intermediate stages of film. It is based on a scan of the original motion picture film scanner kinonegativa and further work with a digital copy of the original materials. Digital Intermediate name is also used with respect to the intermediate digital copy of the image used in this technology. A Digital Intermediate is also customarily done at higher resolution and with greater color fidelity than telecine transfers.

Digital Intermediate technology consists of basic steps:

1. Scanning footage and development of negatives on film;

2. Installation, Conform, Color Correction and editing of digitized material on the computer;

3. Conclusion obtained a master copy on film as a double negative;

4. Production of special effects (CG) and the creation of titles;

5. Manufacturing output material (Deliveries)

The digital intermediate process uses digital tools to color grade, which allows for much finer control of individual colors and areas of the image, and allows for the adjustment of image structure (grain, sharpness, etc.). The intermediate for film reproduction can then be produced by means of a film recorder. The physical intermediate film that is a result of the recording process is sometimes also called a digital intermediate, and is usually recorded to internegative (IN) stock, which is inherently finer-grain than camera negative (OCN).

The digital master is often used as a source for a DCI-compliant distribution of the motion picture for digital projection. For archival purposes, the digital master created during the Digital Intermediate process can still be recorded to very stable high dynamic range yellow-cyan-magenta (YCM) separations on black-and-white film with an expected 100-year or longer life. This archival format, long used in the industry prior to the invention of DI, still provides an archival medium that is independent of changes in digital data recording technologies and file formats that might otherwise render digitally archived material unreadable in the long term.

Each image frame is stored in the standard TIFF. These files take up a lot of disk space, but allows to obtain an image of good quality. For the intermediate storage of digital copies of the film expectancy, you need 3-4 terabytes (3TB, 4TB).

A motion picture film scanner is a device used in digital filmmaking to scan original film for storage as high-resolution digital intermediate files.
Works are carried out using a scanner company ARRI c 2K 4K resolution and Anamorphic (images on standard 35mm film).
The scanner scans the film frames into a file sequence (using high-end data storage devices), whose single file contains a digital scan of each still frame; the preferred image file format used as output are usually Cineon, DPX or TIFF, because they can store color information as raw data, preserving the optical characteristics of the film stock. These systems take a lot of storage area network (SAN) disk space. The files can be played back one after each other on high-end workstation non-linear editing system (NLE) or a virtual telecine systems. The playback is at the normal rate of 24 frames per second (or original projection frame rate of: 25, 30 or other speeds). Each year hard disks get larger and are able to hold more hours of movies on SAN systems. The challenge is to archive this massive amount of data on to data storage devices.
The scanned footage is edited and composited on work stations then mastered back on film, see film out and digital intermediate. Scanned film frames may also be used in digital film restoration. The film may also be projected directly on a digital projector in the theater. The film may be converted to SDTV (NTSC or PAL) video TV systems.


Computer Color Correction

Color Correction is fundamental in design and visual storytelling, as it conveys meaning beyond what we see on screen. We use it to describe objects, express emotion, and evoke responses among audiences. In the post production process of a video production, perfection of color is done through color grading or color correction. Once a job only for color professionals, color grading and color correction tools today are found in most video editing programs and is accessible to anyone. The reasons may be quite different, but the color correction in a video almost always necessary: ​​the original image data, as a rule, is completely unacceptable for demonstration. Captured on camera image, depending on shooting method, the color is almost always different from the visible eye. Depending on the vision of the master of the picture color correction can be used to render images in a special color, mood and effect. Work colorist, usually invisible when color correction done well and fits harmoniously into the overall artistic style of painting, does not violate the composition.

Color correction can not only make the video special and unique style, but also to correct errors filming works: decrease or increase the brightness, light, etc. Now the color synchronization is performed almost always with the digital media.

Of course, the quality of the correction depends on the professionalism of the artist. Color correction in our company are engaged only professionals with extensive experience and proven to work on well-known projects.

Creation of computer 2D / 3D graphics. We carry a full range of postproduction of your movie/video/tv project.

We’re making 4D/5D special effects

Dolby Atmos transports you into the story with moving that flows all around you with breathtaking realism.


Our company has gained extensive experience based on technologies which were created by restoring and converting video for international broadcasting and recording on the media.

Old movies frames restore takes a lot of time, patience and reverent attention to the work.