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KoocheCinema is an independently owned studio specializing in SD, HD, 2K and 4K post production services. We are a Final Cut Pro studio featuring top-of-the-line equipment and a talented staff whose focus is to provide high-end post production services at an affordable rate.
We set the standard by which post production is defined and continue to blaze the path to the forefront of technology.
Our software, facilities and services are structured to provide rapid turnaround and high quality while substantially reducing the overall cost of distributing content.
 A Digital Imaging Technician (D.I.T.) works in the motion picture film industry. The D.I.T. position was created in response by the transition from the long established film movie camera medium into the current digital cinema era. The D.I.T. is the camera department crew member who works in collaboration with the cinematographer on workflow, systemization, camera settings, signal integrity and image manipulation to achieve the highest image quality and creative goals of cinematography in the digital realm. The D.I.T.'s role on-set has become especially prevalent through assisting Cinematographers, normally accustomed to film stock, in achieving their desired look digitally. This is accomplished by the D.I.T. through monitoring picture exposure, setting up Color Decision List (CDL) on daily basis and, if requested, "look up tables" (LUTs) for the post-production. On top of everything, the D.I.T. deals with settings in the digital camera's menu system, such as recording format and outputs. Next to the D.I.T., the Data Wrangler position is created as a support role for managing, transferring and securing all the digital data acquired on-set via the digital cinematography cameras, interacting with the 2nd AC. Depending on the scale of the project, the D.I.T. can be the Data Wrangler but never the opposite. Additionally, the D.I.T. is responsible for securing the digital audio recorded by the external digital audio recorder operated by the Production Sound Mixer. | 
A Digital Cinema Package (DCP) is a collection of digital files used to store and convey Digital cinema (DC) audio, image, and data streams.
General practice adopts a file structure that is organized into a number of usually multi-gigabyte size Material eXchange Format (MXF) files, which are separately used to store audio and video streams, and auxiliary index files in XML format.
The MXF files contain streams that are compressed, encoded, and encrypted, in order to reduce the huge amount of required storage and to protect from unauthorized use. The image part is JPEG 2000 compressed, whereas the audio part is linear PCM. The adopted (optional) encryption standard is AES 128 bit in CBC mode.
The AES encryption is applied to all MXF files. The encryption keys are generated and transmitted via a KDM (Key Delivery Message) to the projection site. KDMs are XML files containing encryption keys that can be used only by the destination device. A KDM is associated to each playlist and defines the start and stop times of validity for the projection of that particular feature |
 Primary color correction affects the whole image utilizing control over intensities of red, green, blue, gamma (mid tones), shadows (blacks) and highlights (whites) of the entire frame. Secondary correction is based on the same types of processing used for Chroma Keying to isolate a range of color, saturation and brightness values to bring about alterations in luminance, saturation and hue in only that range, while having a minimal or usually no effect on the remainder of the color spectrum. Using digital grading, objects and color ranges within the scene can be isolated with precision and adjusted. Color tints can be manipulated and visual treatments pushed to extremes not physically possible with laboratory processing. With these advancements, the color correction process became increasingly similar to well-established digital painting techniques, and ushered forth a new era of digital cinematography. |  The film preservation, or film restoration, movement is an ongoing project among film historians, archivists, museums, cinematheques, and non-profit organizations to rescue decaying film stock and preserve the images which they contain. For many years the term “preservation” used to be a synonym of “duplication” only. The preservationist’s goal was to create a durable copy without significant loss of quality. Film preservation now holds the concepts of handling, duplication, storage, and access. The archivist seeks to protect the film and share the content with the public. |
 Visual effects are often integral to a movie's story and appeal. Although most visual effects work is completed during post-production, it usually must be carefully planned and choreographed in pre-production and production. Visual effects are designed and edited in Post-Production, with the use of graphic design, modeling, animation and similar software, while special effects are made on set, such as explosions, car chases and so on. A visual effects supervisor is usually involved with the production from an early stage to work closely with production and the film's director to achieve the desired effects. | 
CinemaDNG |
High-resolution multi-format film scanning with unrivalled precision, stability, and image quality |
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