ĮFILM performs the world's first location-based Digital Color Timing for a theatrically released film, Universal's Bruce Almighty. The optical modifications are put on-line in June 2003. 2003 - EFILM and Panavision develop proprietary optics for the digital projection systems EFILM uses in its digital intermediate process.This positions EFILM to become the leader in digital intermediates with the largest dedicated digital laboratory in the industry. EFILM expands its facilities by 8,000 square feet and added multiple digital color timing suites. Deluxe Laboratories became a 20% owner of EFILM. EFILM is the first digital intermediate facility to incorporate storage area network (SAN) technology for creating digital intermediates. The first feature film with all the video masters derived from the 2K digital files. The first feature film with close to 2000 first generation release prints. The first feature film with release prints that required NO lab timing. The first feature film to be 100% digitally colored timed on a computer. The first feature film to be 100% digitally mastered at true 2K resolution. The film is digitally mastered from fade up to fade out with :EFILM's proprietary technology including a number of industry firsts.
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We Were Soldiers is the world's first full length motion picture created as a true 2K digital intermediate. ĮFILM begins development to improve the accuracy of digital projection systems, specifically the refinement of the digital display matrix to better emulate film.
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2002 - EFILM signs an exclusive software agreement with Colorfront Software, Ltd., of Hungary, to develop proprietary software for EFILM's digital intermediate color timing process.acquires LPPI (EFILM), as a digital laboratory that services the feature film, television, and commercial arenas. EFILM goes on to experiment further with large format film makers and completed the first ever 3D stereo HD to 65 mm short film. The results are displayed for the Large Format Cinema Association conference in Los Angeles at the California Science Center and at the Universal City Walk IMAX theaters. ĮFILM is first to transform digitally originated HDTV 24 frame footage to 15 perforation 65 MM. 2000 - EFILM works with Panavision to transform digitally originated HDTV 24 frame progressive scan images to film.EFILM's first long format tape to film project is HBO's From the Earth to the Moon. Refined format and color space translations provide a better workflow from standard definition tape to film gave EFILM the opportunity to participate in longer format productions. 1988-1989 - EFILM expands its tape to film services.Additionally, EFILM is selected to film record Contact, The Devil's Advocate, Mouse Hunt, Con Air, Spawn, Alien Resurrection, and Austin Powers: International Man of Mystery. EFILM is also delivered 22 minutes of scanning and recording for the 1997 Academy Award Best Picture winner Titanic. ĮFILM's laser recording system successfully records its first VFX scenes for the feature film Dante's Peak. 1997 - EFILM introduces its EWorks digital color correction software designed with a proprietary viewing approach that allowed the timer to accurately match photographed and digital images at any resolution.Their Etron software performs all the image processing needs for most jobs. 1996 - The company develops digital laboratory software that is used throughout EFILM for almost every step of the workflow including scanning, tape to film, film recording and video and digital cinema deliverables.EFILM completed several 65 mm film recording projects including T2-3D: Battle Across Time, which open at Universal Florida in the summer of 1996. ĮFILM adds 65 mm film recording as a service for theatrical clients, theme parks, museums and other special venues. This custom built system predated most, if not all, other high resolution color timing systems. 25 minutes of special effects sequences were color timed this way under the creative direction of the film's visual effects designer, John Dykstra. The color settings were later applied to the 2K images. The digital color timing system worked in real time via proxy images and allowed for interactive primary and secondary color corrections.
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The images are scanned, color timed and film recorded on the company's custom systems.
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1993 - EFILM offers its film recording services to commercial, music video and movie trailer producers.develops a proprietary tape to film transfer process that creates high quality film recordings.
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