Editing Digital intermediate (section)

==Milestones==
* 1990: ''[[The Rescuers Down Under]]'' – First feature-length film to be entirely recorded to film from digital files; in this case [[animation]] assembled on computers using Walt Disney Feature Animation and Pixar's [[Computer Animation Production System|CAPS]] system.{{Citation needed|date=February 2018}}
* 1992: Visual effects supervisor and producer Chris F. Woods creates a VFX studio to produce the visual effects for the 1993 film ''[[Super Mario Bros. (film)|Super Mario Bros]]''. It was the first 35mm feature film to digitally scan a large number of VFX plates (over 700) at 2K resolution, as well as to output the finished VFX to 35mm negative at 2K.{{Citation needed|date=February 2018}}
* 1993: ''[[Snow White and the Seven Dwarfs (1937 film)#Re-releases|Snow White and the Seven Dwarfs]]'' – First film to be entirely scanned to digital files, manipulated, and recorded back to film at 4K resolution. The restoration project was done entirely at [[Display resolution#Television/movies|4K]] resolution and 10-bit color depth using the [[Cineon]] system to digitally remove dirt and scratches and restore faded colors.<ref>{{cite news|first=John|last=Holusha|pages=5|title='Snow White' is made over frame by frame and byte by byte|date=June 30, 1993|work=New York Times }}</ref>
* 1998: ''[[Pleasantville (film)|Pleasantville]]'' – The first time the majority of a new feature film was scanned, processed, and recorded digitally. The black-and-white meets color world portrayed in the movie was filmed entirely in color and selectively desaturated and contrast adjusted digitally. The work was done in Los Angeles by [[Cinesite]] utilizing a [[Spirit DataCine]] for scanning at 2K resolution<ref>{{cite journal|author=Bob Fisher |title=Black & white in color |journal=American Cinematographer |date=November 1998 |url=http://www.theasc.com/protect/nov98/pleasantville/ |url-status=dead |archive-url=https://web.archive.org/web/20061113154128/http://www.theasc.com/protect/nov98/pleasantville/ |archive-date=2006-11-13 }}</ref> and a MegaDef color correction system from UK Company [[Pandora International]]
* 1998: ''[[Zingo (film)|Zingo]]'' - The first feature film to use digital color correction via digital intermediate in its entirety. The work was performed at the Digital Film Lab in Copenhagen, using a Spirit Datacine to transfer the entire film to digital files at 2K resolution. The digital intermediate process was also used to perform a digital blowup of the film's original Super 16 source format to a 35mm output.<ref>{{cite journal|author=Paul Read |title=The Digital Intermediate Post-production Process in Europe |journal=Journal of Film Preservation |date=April 2001 |url=https://www.yumpu.com/en/document/view/20822601/journal-of-film-preservation-fiaf }}</ref><ref>{{cite journal|author=Debra Kaufman |title=A Flexible Finish |journal=American Cinematographer |date=April 2003 |url=https://theasc.com/magazine/april03/sub/index.html }}</ref>
* 1999: Pacific Ocean Post Film, a team led by John McCunn and Greg Kimble used Kodak film scanners & laser film printer, Cineon software as well as proprietary tools to rebuild and repair the first two reels of the 1968 Beatles' film ''[[Yellow Submarine (film)|Yellow Submarine]]'' for re-release.{{Citation needed|date=February 2018}}
* 1999: ''[[Star Wars: Episode I – The Phantom Menace]]'' - [[Industrial Light & Magic]] (ILM) scanned the entirety of the visual effects-laden film for the purposes of digital enhancement and the integration of thousands of separately filmed elements with computer generated characters and environments.<ref>{{cite journal|author=Don Shay |title=Return of the Jedi |journal=Cinefex |date=May 1999 }}</ref><ref>{{cite journal|author=Bob Fisher |title=Escaping from chains |journal=American Cinematographer |date=October 2000 |url=http://www.theasc.com/magazine/oct00/brother/ |url-status=dead |archive-url=https://web.archive.org/web/20070928010857/http://www.theasc.com/magazine/oct00/brother/ |archive-date=2007-09-28 }}</ref> Outside of the approximately 2000 effects shots that were digitally manipulated, the remaining 170 non-effects shots were also scanned for continuity.<ref>{{cite web|url = http://www.celco.com/PressRelease-ILMCredits.asp/|title = ILM'S Scanning Department Compiles Motion Picture Credits with CELCO Film Recorders|date = June 15, 2000|access-date = September 30, 2020|website = CELCO}}</ref> However, after the digital shots were manipulated at ILM, they were filmed out individually and sent to [[Deluxe Laboratories|Deluxe Labs]] where they were processed and color timed photochemically.<ref>{{cite web|url = https://www.fxguide.com/fxfeatured/art-of-stereo-conversion-2d-to-3d-2012/|title = CASE STUDY THREE: Episode 1: The Phantom Menace – Prime Focus|date = May 8, 2012|access-date = September 30, 2020|website = Fxguide}}</ref>
* 2000: ''[[Sorted (film)|Sorted]]'' - The first feature-length, color 35mm motion picture to fully utilize the digital intermediate process in its entirety from inception to completion. The film was produced at Wave Pictures' digital intermediate film facility in London, England. It was scanned at 2K resolution with 8 bits color depth per color / per pixel using a pin registered, liquid gate Oxberry 6400 Motion Picture Film Scanner and recorded onto Kodak 5242 color intermediate stock using MGI Celco Cine V Film Recorders. Digital visual effects and color correction were done using a ''[[Discreet Logic]]'' Inferno. ''Sorted''  premiered at the Cannes Film Festival in May 2000.
* 2000: ''[[O Brother, Where Art Thou?]]'' – The first time a digital intermediate was used on the entirety of a first-run Hollywood film which otherwise had very few visual effects. The work was done in Los Angeles by Cinesite utilizing a Spirit DataCine for scanning at 2K resolution, a [[Pandora International]] MegaDef system to adjust the color and a [[Kodak]] Lightning II recorder to output to film.<ref>{{cite journal|author=Bob Fisher |title=Escaping from chains |journal=American Cinematographer |date=October 2000 |url=http://www.theasc.com/magazine/oct00/brother/ |url-status=dead |archive-url=https://web.archive.org/web/20070928010857/http://www.theasc.com/magazine/oct00/brother/ |archive-date=2007-09-28 }}</ref>
* 2000: ''[[Chicken Run]]'' was the first wide-release feature film in Europe to use the Digital Intermediate process, digitally storing and manipulating every frame of the film before recording back to film.
* 2001: ''Honolulu Baby'' by [[Maurizio Nichetti]], the first live action feature film post produced in Europe to use the digital 2K Digital Intermediate process from a production filmed in Super 35mm, made by Rumblefish and Massimo Germoglio as a DI supervisor and film editor, edited on Avid, filmscanner with Spirit, CGI with Maya, graphics in AE, finishing and VFX in Inferno, filmrecording of the entire film on the internegative. printed on film.
* 2004: ''[[Spider-Man 2]]'' – The first digital intermediate on a new Hollywood film to be done entirely at 4K resolution. Although scanning, recording, and color-correction was done at 4K by [[EFILM]], most of the visual effects were created at 2K and were upscaled to 4K.
* 2005: ''[[Serenity (2005 film)|Serenity]]'' - The first film to fully conform to [[Digital Cinema Initiatives]] specifications.<ref>{{Cite web|url = http://www.creativeplanetnetwork.com/news/news-articles/fotokem-doremi-labs-christie-digital-produce-dcdm-serenity/408554|title = FotoKem, Doremi Labs, Christie Digital Produce DCDM of "Serenity"|website = Creative Planet Network}}</ref>
* 2008: ''[[Baraka (film)|Baraka]]'' – The first 8K resolution digital intermediate by [[FotoKem]] of a 65mm negative source for the October 2008 remastered [[DVD]] and [[Blu-ray Disc]] release. The scan produced 30 terabytes of data and took 12–13 seconds to scan each frame, for a total scan time of over three weeks.<ref>{{cite video|people = Andrew Oran
|title = Baraka: "Restoration" feature documentary
|medium = DVD/Blu-ray
|publisher = Magidson Films, Inc
|date = 2008
}}</ref>