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Wałęsa. Man of hope.

City 44

dir: Janek Komasa

dp: Marian Prokop

prod: AKSON STUDIO

City 44

INFLUENCE

in postproduction

dir: Łukasz Barczyk

dp: Karina Kleszczewska, P.S.C.

prod: SF KADR

INFLUENCE

citizen

dir: Jerzy Stuhr

dp: Paweł Edelman, PSC

prod: OPUS Film

citizen

IDA

dir: Paweł Pawlikowski

dp: Łukasz Żal/Ryszard Lenczewski

prod: OPUS Film

IDA

Wałęsa. Man of hope.

dir: Andrzej Wajda

dp: Paweł Edelman, PSC

prod: Akson Studio

Wałęsa. Man of hope.

Stones on the rampart

dir: Robert Gliński

dp: Paweł Edelman, PSC

prod: Monolith Films

Stones on the rampart

Mighty Angel

dir: Wojciech Smarzowski

dp: Tomasz Madejski, PSC

prod: Profil Film

Mighty Angel

Word

dir: Anna Kazejak

dp: Klaudiusz Dwulit

prod: OPUS Film

Word

Ticket to the moon

dir: Jacek Bromski

dp: Michał Englert

prod: Jacek Bromski Produkcja Filmowa

Ticket to the moon

Nude Area

dir: Urszula Antoniak

dp: Piotr Sobociński jr., PSC

prod: Apple Film

Nude Area

in treatment

tv series

dir: A. Holland,
W. Smarzowski, M. Lechki

dp: Krzysztof Ptak, PSC, Arkadiusz Tomiak, PSC

prod: HBO

in treatment

Postcards from republic of the absurd

dir: Jan Holoubek

dp: Jan Holubek

prod: Holograph

Postcards from republic of the absurd

Molehill

dir: Joanna Zastróżna

dp: Jan Holoubek, PSC

Molehill

ARIA FOR THE ATHLETE

digital restoration

dir: Filip Bajon

dp: Jerzy Zieliński, ASC, PSC

prod: SF TOR

ARIA FOR THE ATHLETE

PIGS

digital restoration

dir: Władysław Pasikowski

dp: Paweł Edelman, PSC

prod: SF ZEBRA

PIGS

Landscape after the battle

digital restoration

dir: Andrzej Wajda

dp: Zygmunt Samosiuk

prod: ZF Wektor

Landscape after the battle

Obi-Oba

digital restoration

dir: Piotr Szulkin

dp: Witold Sobociński, PSC

prod: SF ZEBRA

Obi-Oba

Death of president

digital restoration

dir: Jerzy Kawalerowicz

dp: Witold Sobociński, PSC

prod: SF KADR

Death of president
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City 44

Digital Intermediate
conforming

di set

On-set services.

di film

Digital Intermediate. Mastering of the film image.

di kino

DCP and KDM service for digital cinema distribution.

di silo

Active film archive.

Di library

Multi-media film library with online access.

rekino

Digital restoration.

di set

After being recorded on camera’s disk, files with images – due to their significant size which may reach more than 1 TB for an hour of filmed material – are converted in several ways. This requires expertise in management of large amounts of data as well as equipment able to handle that.

Whilst working with complex technology, we prefer the simplest yet most effective solutions – we have equipment which makes it possible to view recorded film images to control and verify their physical quality.

CODEX is the best file recorder for digital cameras available in the film market today. Known for its reliability, used in the largest film productions around the world, it provides stress-free recording of files in high resolutions and makes editing and conforming significantly easier thanks to uniform file naming and precise timecode recording, which is very important in further post production.

DI VIEW – service which allows for internet access to all film set materials on a computer, tablet or smartphone. Images can be placed in DI VIEW after one-light colour grading – allowing the cameraman to view materials from daily shoots in high definition and with correct colours and contrast.


Data from the camera is duplicated onto two hard drives and LTO tape or one hard drive and 2 LTO tapes. 

Di Factory works on the film set or very close to it, which significantly cuts time between the shoot and the access to images available for editing, and allows for image quality control immediately after recording.

di film

After editing (which may also be done at DI Factory – 2 edit suites), conforming takes place, which is a process of repeat editing in high resolution.

The next step is digital colour grading where with the use of a digital projector – dedicated to work in post production – on an 8-metre wide screen. The projection is caibrated and constantly monitored according to the best industry standards. Colour grading is done with Digital Vision’s Nucoda Film Master.

For television work we use a 42-inch reference monitor from DOLBY.

Colour grading is followed by the export of files and the process of mastering, and the final result is reference material for digital cinema screening – DCP master, television screening – broadcast files, and compressed files for the internet and mobile media.

Since 2005, we have handled post production of more than 140 films done in the DI technology.

di kino

Preparation of digital copies for cinema distribution and KDM keys service.

Another type of service which we provide is the preparation of digital copies – DCP, and so-called keys for cinema distribution – KDM. To make disk copies, we use a duplicator which in a day produces enough copies to allow digital distribution of a film throughout Poland.

We have plenty of experience in this area from our work with Polish and foreign film distributors. So far, we have made several dozen DCP masters for feature films, several thousand digital copies and thousands of KDM keys.

We have produced the first DCP master in 4K for a Polish feature film – POD MOCNYM ANIOŁEM.

We are also heavily involved in mastering of commercials for digital cinemas.

We have worked on hundreds of advertising campaigns, together with our partner sound company – SOUNDPLACE – which prepares cinema mixes, we verify, upscale and correct materials from various television formats which become part of advertising campaigns screened in cinemas.

di silo

Operational digital archives.

The last element of our activity is long term digital file archiving. We use LTO-5 tapes to record data for Poland’s entire film market as well as other industries which require data preservation over many years

Di library

Dedicated software had been written for the purpose of this service, to allow viewing, cataloging and even simple editing through direct link to the server.

Our first client, a large advertising agency, has almost 3.000 films already filed there. We plan to expand the library by adding further modules – for archiving of radio commercials and graphics.

rekino

This is our technological partner, with close business links to Di Factory, who adds another service to our entire portfolio. Building experience and modifying workflow, reKino is today a team characterised by high quality of their work, capable of digital restoration of even the most complicated damages to film.

They use a wide range of digital tools which allow for very advanced restoration, repair and mastering, e.g. grain management or removal of heavy scratches.

Close details

Blind Chance in Cannes
Return after restoration

Przypadek w Cannes<br>Powrót po rekonstrukcji

05.05.2015
Thanks to TOR Film Studio, PISF and organizers of the Martin Scorsese Presents program, Krzysztof Kieślowski’s “Blind Chance” has been accepted to this year’s Cannes Classics section. The film was made in 1981, six years later it had its international premiere during the Festival. A few years ago it underwent digital restoration under the supervision by Jędrzej Sabliński with Kamil and Łukasz Rutkowski, who now head DI Factory/reKINO digital restoration team. Colour grading was supervised by the picture’s DOP – Krzysztof Pakulski.

Martin Scorsese Presents
Polish classics in LA

Martin Scorsese Presents<br>Polskie klasyki w LA

02.05.2014
Los Angeles County Museum of Art is hosting a series of screenings of digitally restored Polish cinema masterpieces, personally picked by Martin Scorsese.The “Martin Scorsese Presents: Masterpieces of Polish Cinema” program had its opening gala on Feb. 5 in New York – kicking off a tour of 21 restored features through the US and Canada, which in 12 months will visit 30 locations.The Los Angeles screenings run until June 24.

Mighty Angel
4K distribution

Pod Mocnym Aniołem<br>Dystrybucja 4K

17.01.2014
“Mighty Angel”, dir. Wojtek Smarzowski, hits cinema screens as of today. It is the first Polish feature film to be digitally distributed in 4K – it will be shown in this resolution at Multikino cinema in Katowice.
We have made DCP master in 4K – Poland’s first
The film was shot in 5K on Red Epic camera, and this resolution was maintained throughout the entire post production, including VFX and graphics. The master for digital cinema was produced in the highest quality available – 4K. 

DI Factory
Powered by ACES

DI Factory<br>Powered by ACES

19.12.2013
ACES (Academy Color Encoding System) is a state-of-the-art colour encoding process. It unifies various colour characteristics in film cameras, projectors and monitors. Here at DIF, we use workflow based on ACES, which ensures very precise image processing. As a result we achieve very high quality of masters for television, cinema and the video market.

ACES is more than an ace up one’s sleeve in post production.

 

Jędrzej Sabliński

CEO

Kamil Rutkowski

CTO

Julia Skorupska

Executive Producer

Rafał Golis

Sales Executive

Michał Herman

Senior Colourist

Di Factory

A company stemming from many years of experience and successes in digital image processing for film and commercial post production.

Julia Skorupska, Rafał Golis, Michał Herman, Kamil Rutkowski and Jędrzej Sabliński, having spent more than ten years in the film industry, had decided to combine their organizational and technological experience. They set up a company which follows the latest trends in the film industry.

DI Factory is run by a team which guarantees the highest standards of image quality in following aspects:

- artistic – advanced colour grading for cinema/TV and computer graphics for feature films and commercials.
- technological – processing of high resolution files from digital film cameras.

The concept for DI Factory and such specialised services stems from attentive observation of the latest trends in US and British film industries.  

see dif office
Jędrzej Sabliński

Jędrzej Sabliński

CEO

In the film industry since 1993 when he joined Eastman Kodak as director of sales of film products. In 2000 he became The Chimney Pot Warsaw President where he started to develop digital image processing:

- in 2003 Poland’s first Digital Intermediate

- in 2005 digital colour grading introduction

- in 2007 beginning of the process of digital feature film restoration in cinema resolution as part of the KINO RP project.

- since 2008 colour grading of all feature films done with the use of digital film projector dedicated to post production and compliant with DCI standard.

He supervised digital image processing for more than 120 feature films, incl. “KATYŃ” directed by Andrzej Wajda, DoP - Pawel Edelman. The film had first DI in Europe in 4K resolution. As well, he produced digital restorations of more than 40 films – incl. “The Saragossa Manuscript”, “Pharaoh” and “Promised Land”. He presented his achievements at numerous symposiums and seminars, incl. IBC in Amsterdam – film and television industry’s largest trade fair, FMX in Stuttgart – European VFX fair, and at IDIFF in Paris – European post production symposium.

Kamil Rutkowski

Kamil Rutkowski

CTO

In the film industry since 2003. He started as computer graphics artist. In 2005 he joined The Chimney Pot where he worked on the company’s technological development. He was responsible, among other things, for the calibration of the feature film post production proceses, workflow design and tests, creation of dedicated IT tools and software scripts for post production purposes. In 2008 appointed as Head of the Digital Intermediate section, and in 2009 he developed the digital image restoration section. In 2012 appointed as the Chairman of international DI team within The Chimney Pot group.

He has worked on more than 140 Polish and foreign feature films – new as well as digitally restored – incl. “Katyń”, “Popiełuszko”, “The suicide room”, “Chicks are different”, “In the name of”, “The Hour-Glass Sanatorium”, “The Wedding”, “The Saragossa Manuscript”. He was DI Supervisor at more than a hundred of those productions. He presented his achievements at numerous international events, including FMX (Stuttgart), InsightOut (Berlin), IDIFF (Paris) and Camerimage (Bydgoszcz).

Julia Skorupska

Julia Skorupska

Executive Producer

In the film industry since 1999. In the years 2000-2012 she worked for The Chimney Pot, since 2005 as Head of Production. She supervised work on numerous prestigeous and complex projects, both Polish and foreign.

She co-ordinated post production of such features as "Katyń" and "Tatarak" (dir. Andrzej Wajda), "Time to Die” (dir. Dorota Kędzierzawska), "Venice” (dir. Jan Jakub Kolski), “Janosik” (dir. Agnieszka Holland and Kasia Adamik) as well as “The Courageous Heart of Irena Sendler” and "Popieluszko".

Rafał Golis

Rafał Golis

Sales Executive

In the film industry since 1996. Up until 2005 with “TOR” Film Studio where he worked on more than 20 feature films by, among others, Krzysztof Zanussi, Wojciech Marczewski, Agnieszka Holland, Magdalena Piekorz.

He has covered the entire film production cycle – from script to post production. He spent 1,5 years at The Chimney Pot where he supervised post production of feature films and television series. He also worked at TVP Film Agency overseeing film production on behalf of TVP. In the years 2008-2012 he worked as Head of Production at Besta Film / Telemark, supervising post production of such TV series as “Londyńczycy” and “In Treatment”.

Michał Herman

Michał Herman

Senior Colourist

A photographer by profession. He has been building his experience in colour grading since 2008 working on such features as "Konfident" (dir. J. Novota / DOP J. Malíř), "Walesa.Man of Hope." (dir. A.Wajda / DOP P. Edelman PSC), "Nude Area" (dir. U. Antoniak / DOP P.Sobocinski, PSC), "Stones on the rampage" (dir. r. Glinski, DOP P. Edelman, PSC),  "In the name of..." (dir. M. Szumowska / DOP M. Englert PSC)

 At DI Factory he also graded widely awarded “Ida” (dir. P. Pawlikowski / DOP Ł. Żal & R. Lenczewski).

He has also worked on many digital film restorations with cinematography masters –  Witold Sobociński, Jerzy Wójcik, Kurt Weber, Grzegorz Kędzierski and Wiesław Zdort.

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Di Factory

Address

9 Dominikańska str, bd. 3
02-738 Warsaw, Poland

Entrance from Niedźwiedzia str.
E-mail: info@di-factory.com
Phone: (+48) 887 807 800
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