DCI compliant content is soon becoming the de-facto standard for producing High definition (HD) video for Digital Cinema.

In the Middle East, HD has caught on as the buzz word in the Television and Satellite Broadcast industry. There are already a few channels broadcasting in HD in the region. Programs are shot and edited in a full HD environment, because access to quality equipment in both production and post production areas is easily available.

Yet High Definition (HD) is still mysteriously linked to mean only Television and Broadcast, or at the very least, for low budget AD films. Cinematographers and producers still believe that when shooting “movies” or “short films” and high budget ADs (that will end up on television anyway), the medium of choice should be 35 mm film.

Digital Cinema is also HD!

With the UAE looking at becoming a media production hub in the region, two of it’s emirates, the Capital – AbuDhabi and the emirate of Dubai have more than adequate infrastructure and initiatives underway to lure talent from the media industry to set up shop in the country.

AbuDhabi recently launched a full fledged state-of-the-art initiative for media production and more called TwoFour54. (intaj) Dubai also has a dedicated free zone –  Dubai Studio City.

These initiatives are no doubt attracting regional talent to the country, and luring media production and management personnel from the West as well. The production and post-production facilities in these two media production enclaves feature great infrastructure and offer a one stop destination for everything from Location permissions to Studio floors, technicians, camera equipment and high end post production equipment.

Yet, somehow the HD production facilities seem aimed mainly at Television and Satellite Broadcast. There is no emphasis or focus on HD production of content for Digital Cinema!

This is a strange oversight, considering the numerous Cinema Multiplexes in the GCC countries and the region. As of this writing, it is hard to come by any dedicated post-production facilities catering to authoring and mastering of HD content for DCinema.

This can be limiting for the enterprising independent film producer, or short film, Documentary, Cultural film and Drama content producers. Such content is not only exhibited via Television and Satellite Broadcast, but can be well received by live audiences in Cinema Multiplexes. The mindset has to change that Cinema is only for content shot on 35 mm film!

DCI compliant HD Post Production facility

So what would be needed to make an HD production facility geared toward Digital Cinema content production?

The very basics would be:

Color Grading and Conform Suites

DCDM and DCP mastering equipment such as from Doremi labs

Encryption and KDM keys generating facility

optionally, decent data pipes installed for future distribution of content direct to Cinema Playback servers in Cinemas.

There is much more that can be offered to independent content producers to encourage them to produce HD content aimed at Cinema, and there should be a concentrated effort to migrate from the “legacy” mentality of video production, such as using only one brand of NLE or software base. More innovative thinking and equipment suited for the jobs such as machines from Quantel (Pablo), Assimilate (Scratch), should augment solutions from Avid etc. (not that there is something inherently inferior in Avid).

The future of HD media production in the Middle East

For media production to advance in the region, fresh talent and thinking should be adopted and new methodology introduced in keeping with the Digital advances being made. HD has already evolved to resolutions of 4K, Digital Cameras such as the Red One can effectively replace 35mm film, and the hassles associated with film dailies and rushes.

A little known fact to many industry “veterans” is that EVEN if they shoot on film, what they end up doing is, scanning their film to Digital files on hard disks (called DI or Digital Intermediate), then doing all the color effects and correction, and any special effects, then re-scanning it or “printing” it back to 35mm film… thereby losing resolution along the way, instead of staying in the Digital domain from start to finish at 4k resolution (if the producer insists that the hi-res “film look” is what makes a movie better)

We have not even thought of looking into Stereoscopic 3D Cinematography. There is NO reason why 3D cannot be accelerated here in the UAE, or the Middle East. After all, the same equipment that is available to Hollywood is available to the film maker in this region and at a better cost.

Film schools and film institutes operating the the Middle East should gear up and think differently and pioneer new courses in video production for Digital Cinema and Stereoscopic 3D, at the same time that they are evolving in Hollywood!