Back to the real world. We’ve enjoyed bringining you some of the technical details and process stories from this year’s Sundance. This is a great beat and there is so much more we could have done.

This festival is full of commitment and innovation from directors, cinematographers, editors, effects artists, colorists, technical directors, and product managers. I wish we could acknowledge every one of them, as well as all the video journalists who are here working with everything from HDV to HD.

Thanks for tuning in. Check back on Monday for the results of the judging.

Been trying to catch up with Laser Pacific’s Glenn Kimmel all week. Finally our cells aligned. Here’s the short version:

Laser did post on four of the films here and in the process had a chance to put their various DI pipelines through their paces.

For the premiere of The Nines–writer John August’s unique directorial debut–DP Nancy Schreiber shot three different stocks to support August’s three intersecting stories: 3 perf 35, 16mm, and HDV. Laser put their “indie DI” pipeline to work on this (an affordable HD DI) finishing to HDCAM.

Tamara Jenkins’ Fox Searchlight premiere got a full res DI; DP Mott Hupfel shot 35 and Laser finished to HDCAM. For director Nelson George, DP Uta Briesewitz, and HBO, Laser also did a full DI on the Super 16-shot Life Support. Life Support screened as HDCAM.

In Documentary competition, Bill Guttentag and Dan Sturman presented Laser with a pastiche of sources, including many archival. Nanking also finished through Laser’s full DI pipeline and finished to HDCAM.