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Film Gimp
gosand writes "DesktopLinux.com is running this story about Film Gimp. It is a movie editor based on The Gimp that movie studios have been developing for their own use for a while now. The article is an interview with Robin Rowe about Film Gimp's use, and includes some interesting info about the film industry's use of GNU/Linux desktops. One quote worth noting: 'Studios have become the leading desktop users of Linux. Three hundred Linux desktops at Dreamworks. That's amazing! While the MPAA is campaigning for new restrictions on content, the artists at the studios are using and helping create open source. Having Linux and open source as a crucial part of studio operations may help executives rethink their corporate position on open source and Linux issues.'"
Film gimp adds lots of support for superior playback. However, the biggest and most importanted different is that it uses 16 bits per channel instead of only 8 like the regular gimp. That means that instead of roughly 16 million colors, you get 16 million squared colors. This adds much less chance of rounding errors on compositing, and gives you more room to play with when adjusting brightness and color balance over 8 bit images.
The downside is that film gimp is based on an old version of the gimp, and it doesn't really look like that is going to change soon. But at least they are talking about syncing up a bit before 2.0 whereas before they seemed to be planning on waiting for the Gimp 2.0.
I'm a loser baby, so why don't you kill me.
"If a conventional monitor can't display the colors at that depth then how does the film editor know exactly what will end up on film after printing?"
I think you're looking at it the wrong way. It's not about what's displayed on the screen, it's about having enough color information to prevent color banding when doing things like brightness and contrast adjustments. The color banding is a result of rounding errors that stair-step the color values when adjusted too heavily. 16-bit images have a greater degree of accuracy, so rounding errors are reduced, as is the resulting color banding.
The end result is dithered down to 24-bits, but anything can look good at 24-bits. It's not a problem until you need to tighten in on information. It's kind of like resizing an image from 320 by 240 to 640 by 480. The image looks great at 320, but there are artifcacts to blowing it up to 640. If there was subpixel information in the original image, then the expansion to 640 would go a lot smoother. Try to imagine that in the color space.
*hoping I expressed that in a way that makes sense*