Editing Digital intermediate (section)

==History==
[[Telecine]] tools to electronically capture film images are nearly as old as broadcast television, but the resulting images were widely considered unsuitable for exposing back onto film for theatrical distribution. Film scanners and recorders with quality sufficient to produce images that could be inter-cut with regular film began appearing in the 1970s, with significant improvements in the late 1980s and early 1990s. During this time, digitally processing an entire feature-length film was impractical because the scanners and recorders were extremely slow and the image files were too large compared to computing power available. Instead, individual shots or short sequences were processed for [[visual effects]].

In 1992, Visual Effects Supervisor/Producer Chris F. Woods broke through several "techno-barriers" in creating a digital studio to produce the [[visual effects]] for the 1993 release ''[[Super Mario Bros. (film)|Super Mario Bros.]]'' It was the first feature film project to digitally scan a large number of VFX plates (over 700) at 2K resolution. It was also the first film scanned and recorded at Kodak's just launched [[Cinesite]] facility in Hollywood. This project based studio was the first feature film to use Discreet Logic's (now [[Autodesk]]) Flame and Inferno systems, which enjoyed early dominance as high resolution / high performance digital compositing systems.

Digital film compositing for [[visual effects]] was immediately embraced, while optical printer use for VFX declined just as quickly. [[Chris Watts (filmmaker)|Chris Watts]] further revolutionized the process on the 1998 feature film ''[[Pleasantville (film)|Pleasantville]]'', becoming the first [[visual effects supervisor]] for [[New Line Cinema]] to scan, process, and record the majority of a feature-length, live-action, [[Hollywood (film industry)|Hollywood]] film digitally. The first Hollywood film to utilize a digital intermediate process from beginning to end was ''[[O Brother, Where Art Thou?]]'' in 2000 and in Europe it was ''[[Chicken Run]]'' released that same year.{{Citation needed|date=February 2018}}

The process rapidly caught on in the mid-2000s. Around 50% of Hollywood films went through a digital intermediate in 2005, increasing to around 70% by mid-2007.<ref>{{cite journal
| last = Belton
| first = John
| author-link = John Belton (academic)
| title = Painting by the Numbers: The Digital Intermediate
| journal = [[Film Quarterly]]
| volume = 61
| issue = 3
| pages = 58–65
| date = Spring 2008
| doi = 10.1525/fq.2008.61.3.58}}</ref> This is due not only to the extra creative options the process affords film makers but also the need for high-quality scanning and color adjustments to produce movies for [[digital cinema]].{{Citation needed|date=February 2018}}