David Reisner has solved the most difficult problems in entertainment, technology, and other fields for 25 years. He helped define digital cinema and the transition from film to digital. He works above-the-line, advising producers and directors, and below-the-line with cinematographers and post-production. He has designed new kinds of computers and consumer products, including early technical and business plans for internet-based music and movie distribution, biological fingerprinting, and killer whale training.
Who We Are. What We Do.
info <at> d-cinema <dot> us
Digital technologies are being incorporated in motion picture production at a very high rate. Just a handful of years ago, only a few movies were done with digital intermediate (DI); now essentially all are. During that same time, digital motion picture cameras have reached the quality that allows reasonable project-by-project choice between digital and 35mm film, often favoring digital. More than 90% of movie screens in the US have been converted to digital cinema, with conversion world-wide above 80%.
Our scene-to-screen expertise spans the technologies enabling creative work including image quality; color management; imaging workflow best practices and DI in mixed gamut monitoring / viewing and delivery environments; security; interoperability; and standards.
We have the knowledge and the business and creative relationships to help you create your show - motion picture, television, or other delivery platform - or design your workflow, facility, product, make appropriate choices for your distribution or exhibition systems, or bring your staff up-to-speed on any aspect of digital cinema.
Work includes: Digital Cinema, Hybrid Imaging. Digital Color Supervisor, Imaging Supervisor, Workflow, Color, Color Management. Expert in motion picture image quality; color management; "best practices" in digital/film hybrid imaging workflow and DI in mixed gamut monitoring / viewing and delivery environments; security; testing; interoperability; standards.
dreisner <at> d-cinema <dot> us
David Reisner’s motion picture work emphasizes creative flexibility and best practices in image quality, color, workflow, DI, and digital and hybrid imaging in production, post-production, distribution, and exhibition for features. Digital cinema work also includes security, interoperability, and standards.
Reisner also works with producers, directors, and cinematographers to help them make the best choices for their shows in our rapidly changing technical environment.
Reisner has been Secretary of the ASC Technology Committee since its founding and is Secretary of the DI, Workflow, Advanced Imaging, and Camera subcommittees. He has been a principal in planning, designing, and creating the ASC Color Decision List (ASC CDL), the ASC-PGA Camera Assessment Series, and the ASC-DCI StEM (Standard Evaluation Material) test movie (screen credit—Test Design). He has been an officer of SMPTE digital cinema working groups during the entire development of digital cinema standards, and was Vice-Chair of the working groups that wrote the imaging standards. As Secretary and Vice-Chair of the Inter-Society Digital Cinema Forum (ISDCF) he had a principal role in design and execution of the 3D projection luminance demonstration. He was architect of proposed 2K and 4K proof-of-concept systems for DCI.
Work in other industries has included technical and business plans for internet-based music and movie distribution; computer hardware and software architecture (SGI, Sun Microsystems, etc.); and killer whale training.
Working as an independent consultant, Reisner has covered a broad range of technical and strategic issues in a broad range of industries, including:
Product Planning and Design
Human-Computer Interaction / User Interface
Computer Software, Hardware, and Systems Architecture
Operating Systems and Programming Environments
Internet and Unix
Industrial Robot Control and Embedded Systems
Cutting edge development of new products and technologies
In addition to cinema, our research interests, projects, and publications include...
"Aware world". Ubiquitous computing and networking, including especially:
Strategic Planning - How to extend and restructure the consumer product and information technology spaces and create viable business models so that people benefit from this entirely new and different relationship to technology and information. And what should these interacting systems do, anyway?
Systems Architecture - How do all these disparate elements interact and communicate, now and extensibly for the future?
User Interface - How to present what set of functions so that additional integration and capabilities make each person's technology experience better and more transparent instead of burdensome.
Human-oriented Computer Interfaces, including physical user interfaces, such as "soft bookshelf", and other alternative interfaces, such as "fish-eye views".
Non-speech "environmental" sound in user interfaces. Sonification.
Medium and larger-scale civic artworks/installations.
Early Digital Synthesizer Design
Architecture and design of MSI and nMOS VLSI prototypes for a programmable real-time signal processor for music synthesis. The system design (1979-1980) predated the first commercial digital synthesizers, and advanced one of the earliest serious proposals of the need for sampling rates higher than 48KHz and resolution greater than 16 bits. It also anticipated a number of later trends in computer architecture - wide instruction word (VLIW), 5 step pipeline, multiple request asynchronous bus architecture. The VLSI design was done in the colored pencil days, immediately following the release of Conway and Mead's seminal VLSI design book.
"Further Uses of 'Scenario'", Association of Computing Machinery - Special Interest Group on Computer Human Interaction (ACM SIGCHI) Bulletin, 1992
"Summary of Current Research, Position Paper", Proceedings Addenda, ICAD '94 - Second International Conference on Auditory Display, Santa Fe Institute, 1994
"Recreating Reality, Redefining Art", Panel Presentation, Proceedings of the EXTRO-2 (Extropians') Conference, 1995
"Seybold Digital World Conference - Report and Commentary", European Multimedia Bulletin, London, 1991
Cover photographer for an issue of Atari Explorer magazine. Distributed internationally.
Photographs for Vogue Italy, Omni Germany, and a Brazilian magazine.
Technology industry clients have included:
Sun Microsystems Laboratories
Structural Dynamics Research Corp.
Harcourt-Brace-Jovanovich / Sea World Marine Parks
Time-Warner Interactive / Atari Games
White Data Systems
Renaissance Systems Inc.
And projects with...
The Voyager Company
European Multimedia Bulletin
Visual Effects Society (VES), Active Member (2012-present)
Society of Motion Picture and Television Engineers (2000-present)
Inter-Society Digital Cinema Forum (ISDCF) (2008-present)
Association for Computing Machinery (1978-2008)
Institute for Electrical and Electronic Engineers, IEEE Computer Society (1979-2006)
Audio Engineering Society (1980-2006)
USENIX (Unix technical society) (1981-2006)
Space Dermatology Foundation (1990-1995)
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