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the different soundtracks, which were supplied separately as.wav files on CD-Rom).
“The net result of the iQ route was that the demo versions for the UK, America, Europe and everywhere were of consistent quality - no territory
was compromised.”
Quantel’s iQ system, part of their
broader Generation Q initiative, offers filmmakers a whole new box of tricks that seems likely to save them time and money, as well as ‘future-proofing’ their film in a safe, stable format.
This not only has implications for cinematographers anxious to preserve the integrity of their original work, but for producers and broadcasters keen to deliver it in multiple formats to var- ious different territories.
“This hasn’t been possible until now,” explains Roger Thornton, corpo- rate relations manager at Quantel. “Technology has just come to the point where, if you push it and you design it right and build it right – as we have – you can now handle 2K digi- tal film in real time.
“People have been able to do effects work on movies for quite a few years on computer based systems, but nothing’s had the power to let you store the whole movie, edit it and colour correct it at full resolution in front of your eyes.
“That’s what the power of iQ brings to the party, amongst other things. It’s a big step forward for the industry. It’s really doing for digital film what some of the non-linear online systems including things, like
our Edit Box, were doing for video ten years ago. We’ve now got the power to han- dle full film information in real time.”
“Currently, there
isn’t anybody who has
kit that can out perform the iQ system in terms of speed and flexibility,” affirmed Dillistone. “Of course, there are other computers that can handle HD, 2K, etc., but Quantel has built a piece of equipment that can do this, and more, very elegantly and in real time.”
With all the benefits and flexibility that working in digital format offers, Quantel’s iQ system may yet change the way films are brought to the screen.
“Potentially it improves the work- flow for the entire industry,” adds
Roger Thornton. “It brings the direc- tor, the cinematographer, editor and colourist much more in control of the whole process, and it also makes it a faster process as well.
“In other words, it helps them all achieve a result closer to what was in their minds’ eye when they shot the film in the first place, without the cost and time penalties that this usually implies.” ■ ANWAR BRETT
How Quantel’s
iQ system polished up The Glow
Photos from top: Scenes from The Glow – Dave’s Fish Shop; Gary Greasley changing bulbs on the beach, cycling along covered promenade and Bradley Welsh & John Quentin with the plasma bulb