DI — original negative scanned to digital, color-corrected in software, then output to print. Industry standard since 2000 — eliminates physical print tests.
The DI process has fundamentally changed post-production—not because it sounds revolutionary, but because it actually works. You no longer need to send your original negative to the duplication lab, hoping the color values are correct. Instead, the 35mm or digital original material is scanned, archived as a high-resolution digital intermediate format, and then processed during editing and color correction. This saves you test prints, trial copies, and expensive corrections at the internegative stage.
In practice, it works like this: After editing and color correction (usually in DaVinci Resolve, Baselight, or an ACES workflow), a DCP (Digital Cinema Package) is created from this digital version for distribution—or it is exposed back onto the negative. During this recording, you pay attention to bit depth, color space, and resolution. Editing in 4K or 6K and then downscaling to 2K is standard for large productions because it offers more flexibility in post-production. The data is available—changes cost time, not material.
A critical point: The DI process is only as good as your scan quality and your color reference. A bad scan destroys all advantages. Many DoPs therefore insist on being present during the scan setup—white balance, gamma settings, and contrast must be correct before the terabytes start rolling. And in color correction, you work with LUTs (Look-Up Tables) and primary/secondary corrections, which are crucial at the editing table. Without monitor calibration (pay attention to DCI standard!), you're shooting yourself in the foot.
The DI also enables digital effects, VFX integration, and color grading without optical processes. You can manipulate a film three times without taxing the negative. This is particularly valuable for archiving and re-releases—the digital file remains, your original is safely in the vault. But beware: digital files are not "eternal." Codec decay, outdated hardware, and missing documentation can become a problem in 15 years. That's why responsible facilities still create a 35mm print version—or archive in DCI format with clear metadata documentation.