Alex Panton is telecine producer at Rushes Post Production.

What are the main issues surrounding data workflow in telecine?
People are now using so many different digital file formats in shooting and post-production. We spend a lot of time consulting with our clients about the most efficient way of presenting and transporting data. Preparation and tailoring the process to suit the workflows of ourselves and our clients help prevent delays that could be hugely wasteful, not to mention expensive.

How can technology alleviate these issues?
The data extraction and conversion process that currently exists is lengthy and new technology needs to address this. An example is the Da Vinci Resolve 6.2 upgrade that imports raw Red camera files, dramatically cutting timeframes.

What telecine-related technology or techniques are everyone talking about in post?
The competition from glamorised domestic-but-free software that endangers professional, high-end grading. Enough said.

What are your predictions for the future of telecine?
Conventional telecine will continue to struggle as a result of the downward pressure on the price of shooting and processing film. It’s a competitive market out there and rates continue to be squeezed.
On a more positive note, the advances in technology really are creatively empowering not only to the colourist but also for the client and we’re all able to explore far more in the grading environment – with pleasantly surprising results.