DI workflow for Indies

Studio Daily has a report on DI workflow for indie films which reads a bit like an ad for Assimilate’s Scratch DI system, but has all of the principles of the DI route using today’s available technology. They purport the rise of DI to come out of A-List directors wanting more control over the look and finishing of their films. When technology allowed the break away of DI work from proprietary systems, the rise of Indie DI workflow was imminent. The workflow I would adopt most readily would work around Final Touch as follows:

• Film 35mm or 16mm or Solid State 2K


• Telecine to DV and edit at 25fps


• Create editorial in FCP and EDL for TK to 2k DPX files and Conform in FCP to 2K pre grade online.


• XML to Final Touch and do Primary and Secondary grading.


• Use Film and HD LUT’s to create final grades.


• Test grade output with test 35mm prints.

Additional options as needed:

• XML from Final Cut to Smoke for any finishing touches and credits before going back to print.


• Export Film grade LUT’s as Shake node for composites

For my money the Final Touch route is a simple solution that yields great results. And with the added benefits of integration with Shake and Smoke(linux based systems have halved the price in recent years) , this is a solid workflow on affordable solutions, but I don’t know of a facility in London that can offer the full service at a price that meets today’s indie market. I do know facilities that are touting their £60K Linux smokes at old Tezro system’s prices £300-400 per hour. Unless you have got the best op in Soho, or a suite complete with masseur, you should be forking out about £200 - £250 and no more!
So with a 2k grading suite, Smoke and Online FCP  under £2000 per day (one pound per pixel line) editing a film can come in at the same cost per day as SD Tele.
Yet even with all this bang for your buck, people will remain number one.