Digital Intermediate is a groundbreaking development in filmmaking, which enhances the aesthetic results and cuts down the costs. The DI process has the advantages of the digital video production of speed and adaptability though maintaining the highest standard of quality and film resolution. The DI replaces the photochemical process with a digital master, evading in this way quality loss accumulating over multiple runs of the original negative.
Colour grading, titles, and visual effects(SFX) can be previewed in real-time and promptly modified instead of using work prints, saving both time and money. The final digital images can be output to film, SD, HD or any video format in various resolutions, frame-rates and aspect ratios.
- Northlight 2 Scanning
- Disc to Disc source level 2K colour grading to 4K digital projection with primaries, secondaries, vignette, vector isolation, image resizing and Truelight 3D LUT colour management
- Film Formats: Super 35mm and 35mm: including 3 Perf, Super 16mm and 16mm
- Defocus keying, enhancement, blowups, colour isolation, multiple positioning
- 4K Digital projection with Sound
- Digital Film Restoration
- Image Processing and Manipulation
- Film Recording from all Digital Media and Videotape Formats
- Project and Workflow Design
- On-Site Technical Support & Consulting
- In-House Post Producers
Film to Digital
Film to Digital is one of the most exciting forms of content delivery to emerge from the film and television communities in recent years. It has democratised filmmaking by lowering production costs, enabling producers, directors and cinematographers to obtain control over the qualities of the film, and by enhancing the cinema experience by allowing producers to deliver multiples of high quality film prints.
The Film to Digital department at Graal, Athens produces 35mm & 16mm motion picture film negative with brilliant contrast range at varying resolutions, creating stunning imagery from any input resolution.
Northlight 2 (Filmlight)
Northlight is a high-quality pin registered and pinless digital film mastering scanner. Unlike telecine based machines that have been adapted for scanning, Northlight was engineered specifically for the exceptional demands of digital film mastering, providing image quality surpassing that of traditional pin registered film scanners used in special effects post production.
The Northlight 2 matches – and surpasses – the requirements of the feature film industry as it embraces 4K workflow and digital cinema projection. Northlight 2 delivers up to six times the scanning speed of Northlight 1, with an internal resolution of 8K.
PF Clean (Pixel Farm)
PFClean is a fast and flexible automatic image clean up system designed for use with scanned image data prior to the commencement of the VFX and DI process, or for the restoration of achieved film and video. PFClean operates flexibly in an ever changing and complex DI environment, working either as manual, or fully automatic, hybrid system. The user is able to define frames and the type of anomalies to be fixed in a non destructive environment. PFClean features a comprehensive set of resolution independent, non destructive tools to clean up and restore images.
Colour Grading and Digital FX
Baselight TWO (Filmlight)
Baselight is a resolution independent grading and finishing system for film and video, providing real-time operation at resolutions of up to 2K, ensuring accurate emulation of the deliverable on the grading display. It utilises centralised grade database architecture, supporting enterprise-wide collaborative working. Baselight offers unrivalled flexibility and an opportunity to expand creativity through the use of unlimited primary and secondary grades, as well as multiple soft-edged spline shapes. Bespoke film output characterisation ensures that the digital image represents the actual final print, and not just an idealised film "look". Resolution independence enables formats to be freely mixed within a single scene or job, and multiple deliverables can be rendered from the same timeline. The flexible and intuitive user interface provides trackball, jog wheel and gestural controls as standard, supports real-time playback up to 2K although capable of working with higher resolutions like 4K, while, equipped with a dual link HD-SDI card, it is able to support HD 4:4:4 RGB, ingest and output.
AVID DS 8 (NITRIS)
The Avid DS Nitris system offers multi-stream, 10-bit uncompressed HD, Avid DNxHD, and SD finishing and mastering as well as HD-RGB and 2K/4K file-based editing with real-time playback up to 2K. It combines advanced creative and finishing software with high-performance Avid Nitris Digital Nonlinear Accelerator hardware for guaranteed real-time editing and effects. With the resolution-independent Avid DS Nitris system we can create, edit, and master TV programs, films, and commercials-even theatrical releases. Our special DS suite, equipped with a full HD monitor and a DCI approved projector is an ideal station for creating both TV and theatrical deliverables.
Final Cut Studio 2
FCP2 is a platform with open standards that encourage innovation, giving developers and partners the freedom to create custom solutions. With XML to share project data and QuickTime to seamlessly move media between systems, Final Cut Studio 2 can fit into virtually any production pipeline or newsroom. The FCP2 is installed on the most powerful 8core Mac pro which is equipped with a dual link HD-SDI AJA, connected to a high bandwidth network (Bright System’s online) making it a perfect solution for CG digital FX, or colour grading.
Advanced compositing and 3d programmes like Shake, Fusion 5,2 and Maya 2008, are seamlessly connected with the online stations, making the exchange of sequences very easy, regardless of the resolution or format. Handled by a team of experienced compositors and 3D Artists, Graal is able to apply any kind of digital FX or CG.
The DI Theatre is all about making space part of the filmmaking workflow. It is the preview and the testing site where all incoming components of the film process fall into place.
Graal created such a site equipped with Sony’s SRX-R105CE, which is able to project a full 4K resolution while meeting the DCI criteria. The theatrical size screen, the quality of the image projected, along with the calibrated signal provided by the Truelight, and the excellent colour correction potentials provided by the Baselight, make our D.I. theatre ideal for colour grading, since the result is now closer to the final outcome.
The SRX-R105CE is Sony's large-venue projectors, tailored with stunning features and picture performance to address the quality-critical demands in Digital Cinema applications and other large-venue systems.
Combining the highest-resolution "4K" SXRD imaging device with contrast ratio of 1800:1, the SRX-R105CE achieve high-quality images with rich and precise colour tonal reproduction. The SXRD 4K projector have a native resolution of 4096 x 2160 pixels to offer the highest resolution on the market. Input cards enable the projector to accept native 4K (4096 x 2160) signals as well as DCI 2K (2048 X 1080) and HD (1920 x 1080) signals which it internally up-converts to display at 4K, while the dual link HD-SDI input allows for either a 4:4:4 or 4:2:2 workflow.
Truelight is the world’s only complete film colour management system for pre-visualising film images on electronic display devices, working equally well with digital projectors and computer monitors. It allows artists, colourists, supervisors, cinematographers and directors to check the final film look at any point in the digital post production process, reducing film-outs, while saving matching, rework, time and effort.
- Supporting all formats including HD CAM SR, HDCAM, DVC Pro HD and HDV
- Feature Film and Broadcast Mastering
- Digital Intermediates (including scanning and recording)
- Tape-to-Film for Theatrical Release
- Format Conversion; Up, Down, and Cross-Conversion; To/From all Formats and Frame Rates
- Dolby Audio Relay
- Digital Optical and Visual Effects
- Graphics & Title Design
- Film Preservation/Restoration
Digital to Film
The process involved in transferring video to film has been dramatically simplified by new technologies and the accessibility of High Definition Data as an intermediate. The use of 24p or HD data – as the step prior to recording film – offers the ability to preview, in real-time, the closest representation to the final film. Working with 24p formats ensures the transition from the highly controlled digitised environment to the volatile film with the best possible accuracy.
The Firestorm is a film recorder that utilizes CELCO’s XCRT Advanced Imaging Technology, resulting in unsurpassed image quality. The system is a continuation of CELCO’s advancement of their proven, award-winning electron beam control technology for transferring digital images to motion picture film. (Produces any kind of film stocks, image formats, and file formats up to 8K)
Shake is the industry standard for high-end compositing and special effects. It is resolution independent, and works at any colour depth (8, 16 and 32 bits) mainly used for high res films work with full access to Xserve RAID and the Mac render farm. Additional equipment: 30’’ Cinema Display monitor, Aja Kona2 Dual Link HD video Card, Decklink HDLink SDI-DVI interface 23’’ Cinema Display video monitor, Wacom tablet, dynaudio Air speakers.
Algolith. Algolith plugins embedded in Shake can give format conversion solutions including advanced de-interlacing, resizing, frame rate conversion, anti-aliasing, noise reduction and more.