Advanced Filmmaking in Pakistan
By Qasim Iqbal

In its heydays of 70’s, the Pakistan film industry produced over 100 films annually. The count has fallen to perhaps less than 43 now as reported by film critic Aijaz Gul. There is a general perception that in addition to the number the quality has diminished considerably. Recently, there has been some effort by both government and private sector for the revival of cinema in Pakistan.

This article examines some aspects for the rehabilitation of the filmmaking scene in Pakistan. Most emphasis is placed on the technical areas. However, some non-technical consideration is also pointed out. In addition to a creative vision for good film direction, revival of cinema in Pakistan may remain an elusive reality unless a rigorous technical infrastructure for filmmaking is established at an advanced level. One needs to look no farther than the recognition bestowed by the Society of Motion Picture Arts and Sciences to prominent academics at various US universities to realize this. Several Academy Awards comprising of technical achievement, and scientific and engineering excellence have been awarded to faculty for their contribution to filmmaking. For e.g., Ken Perlin at New York University and Pat Hanrahan at Stanford University.


A complex process like filmmaking is seldom done by a single entity or organization in its entirety. In US, this process is streamlined for maximum efficiency to avoid delays in a production pipeline. If a Universal Studios film requires some digital processing they can always contract an established production house such as Industrial Light and Magic (ILM) owned by the famous director/producer George Lucas of the Star Wars fame, Digital Domain in California, The Foundry in the UK, or Weta Digital in New Zealand. Typically these production houses may even subcontract several shots to smaller houses, say, The Orphanage in Los Angeles. A technical director, working in close conjunction with the director of the film, oversees that all of this processing goes smoothly. This also serves as a good economic model for job creation.


Some of these processes are being implemented in India. There are several high-profile digital production houses, e.g., Prime Focus, Ltd., Pixion, or Adlabs, which provide services that range from digital intermediate (DI) to post-production. Though, some recent visual effects in Indian films were done by specialists based in US, such as for Rakesh Roshan's "Krrsh", the presence of advanced indigenous local production houses in India ensured seamless integration.


Unfortunately, there are no counter parts to such production houses in Pakistan for film work. This means that a local organization serious in its vision for the revival of cinema has to endure some higher share of burden in its effort to rejuvenate the film industry. There do exist some digital production facilities catered for TV/Broadcast work in Karachi, Lahore, and Islamabad that may be taken advantage of. Most of them employ artists doing motion graphics and animation work. So far they are not geared towards film work, perhaps with the possible exception of The Post Amazers in Karachi, which has done some work for US films.

With proper supervision, a close collaboration can help in offloading some of the film work to existing organizations. That would require a technical lead from the filmmaker’s side supervising these projects contracted out to these production houses.


I have identified the following measures for the rehabilitation of filmmaking culture in Pakistan. It is the author’s sincere hope that either the Government or private establishments may incorporate some of them in their production pipelines.


1. Help in the Establishment of Film Academy


It is encouraging to see recent efforts by noted filmmaker Syed Noor for the establishment of a film academy in Pakistan. Reportedly, the well-known Indian filmmaker Mahesh Bhatt is also supporting him. The Ministry of Culture has also sought proposals from distinguished local filmmakers about the rehabilitation of the film industry in general and establishment of an academy in particular. I think any organization serious about the revival of cinema in Pakistan should put its weight behind these efforts for the consolidation of these seemingly disparate plans into a joint vision. American Film Institute (AFI) offers advanced film and television studies. India offers several film institutes and centers for film studies. It's about time Pakistan got one.


A popular filmmaking culture cannot be revived in Pakistan unless people with diverse background and beliefs have trust in our films and its associated culture. We must provide fresh impetus at this critical juncture so that young people from varied backgrounds view film as a viable career for them.


2. Digital Cameras

Film negative can store a little over 10 stops of information. Where as typical high-definition (HD) digital video cameras store about 7 stops. For a greater dynamic range, the film negative is still a better choice. In addition, digital video cameras can't offer that shallow depth of field as provided by film cameras for visually pleasing cinematography. However, under controlled lighting, variable aperture, and replaceable lenses with longer focal lengths, these disadvantages may be mitigated. Several Hollywood films have been shot with HD cameras, for e.g., "Collateral" and "Miami Vice" by director Michael Mann, and recently "A Mighty Heart" by director Michael Winterbottom.


I would suggest that in addition to high-quality film cameras, such as those from Arri, or Panavision rentals, one invest in advanced video cameras such as the Sony CineAlta HDW-F900/3 or HDK-T950, Grass Valley Thompson Viper FilmStream, Panasonic VariCam, or the Red One. For low-budget filmmakers, Panasonic AG-HVX200 and Canon XL-H1, or XH-A1 are good choices. An advantage of using such cameras would be that the cumbersome and expensive process of film to digital intermediate would be avoided.


Miniatures of real world objects such as buildings, mountains, etc., are used often in special effects footage. Over cranking (frame rate higher than 24 fps) has to be used in inverse relation to the ratio of the size of the miniature and real world objects. Therefore, it is not surprising that many times frame rates in several hundreds are required. Digital video cameras, especially those using CMOS sensor have an edge here over film cameras as many industrial digital cameras can shoot up to 500 fps. However, currently it is desirable to have CCD cameras (which are slower than CMOS) for special effect footage because of the global shutter employed in them. CMOS-based solutions typically employ rolling shutter, which is not desirable for effects work, unless mechanical shutters are employed, which are used in some high-end digital video cameras.


3. Digital Intermediate Workflow

For modern filmmaking, digital intermediate (DI) workflow must be incorporated in film production pipeline.


3.1 Film to DI

Early 2K-4K DI scanners, such as Kodak Cineon Genesis, were expensive and slow. Kodak had bailed out of the scanner/recorder business by late 90’s. Coen Brothers' "O Brother, Where Art Thou?" was scanned on a 2K Spirit DataCine. The legacy of Kodak's Cineon is a widely used DPX file format, a Society of Motion Pictures And Television Engineers, (SMPTE) standardization of the original Cineon file format. However, more powerful formats, such as the open source OpenEXR from Industrial Light and Magic (ILM), are gaining rapid recognition.


Recently, DI scanners from several manufactures have responded with a significant leap in scanning performance for 2K-4K scans.


It is not customary for a film production house to have its own facility for DI work flow. One can always have film negatives scanned from India or USA. However, I would tend to believe that the price of a DI scanner, such as Arri Scanner, might be within the means of an established local organization. It is worthwhile to have a local facility for DI scans that may be rented out to other filmmakers.

3.2 Film Editing

The originally painful process of editing using the film negative by employing partly mechanical devices, such as a Moviola or a flatbed editor, is increasingly being shunned by Hollywood for digital film editing. The digital intermediate of the negative is acquired by editing on a computer using another digitized copy obtained via telecine. It must be noted that DI and telecine are separate processes, however. That does not mean that actual negative cutting is not done. Typically, edit decision lists (EDL) are output by digital film editing tools that are used for conforming the negative for a final print film. Other standards that go beyond the limitations of an EDL use Open Media Framework (OMF) or the Advanced Authoring Format (AAF).

Autodesk / Discreet develop non-linear editing (NLE) tools such as Fire and Smoke. However, Avid systems and Apple Final Cut studio are becoming increasingly popular among digital film editors, especially independent filmmakers. There was a time when turnkey Avid systems were considered higher end. However, with rapid development by Apple, Final Cut Pro, which is part of the Final Cut Studio, is increasingly becoming an alternative to Avid. There are a number of Hollywood films edited on both. The famous editor Walter Murch used Final Cut Pro to edit the 80 million dollar film "Cold Mountain" starring Nicole Kidman. This effort is documented in the book entitled “Behind the Seen: How Walter Murch Edited Cold Mountain Using Apple's Final Cut Pro and What This Means for Cinema.” Coen Brothers of Hollywood are reportedly very fond of Final Cut Studio. Apple's web site contains footage from them endorsing their product. To my knowledge, Avid system was used by Syed Noor.

3.3 Color Correction

Both hardware and software tools for digital color correction exist. Hardware tools, such as DaVinci 2K, Lustre, Quantel iQ, etc., have the advantage of real-time performance and previews. However, software tools with the right computer infrastructure may also result in a speedy delivery. Autodesk / Avid / Apple provide specific tools for this purpose.


3.4 DI to Film Out

If digitized film (using telecine) is only used for the establishment of EDLs for camera negative (or internegative) cutting, then DI to film out is not required. However, if digital color correction is applied that can’t be resolved with analog methods during optical film printing, or computerized visual effects are added, DI to film out is needed. DI to film out is also needed if the source footage did not originate on film or video, e.g., rendered by graphics packages. In such cases, the final output needs to be converted from digital to print film unless digital projection processes are employed, which are not used so far in cinemas in Pakistan. DI to film can be done with both CRT-based and higher-quality laser-based products such as ArriLaser.


4. Visual Effects


There are a number of hardware-accelerated software tools that are used for commercials in US. The high-end ones are turnkey systems and cost a large amount of money. A few examples are Inferno / Flame / Flint by Autodesk.
In US, the above mentioned software are typically used for faster-turn around projects such as commercials. For film work a large number of people are employed. It is reported that for Spider Man 3, there were more than 50 visual effects artists working at the same time. In that case, floating licenses and/or per seat licenses for these software becomes too expensive. That is why many production houses opt for software only solutions. Some tools that may be used are Shake by Apple, Nuke by The Foundry, Production Suite by Adobe, Combustion / Maya / 3DS Max / Motion Builder by Autodesk, Lightwave by NewTek, Blender by Blender foundation, and Houdini by Side Effects Software.


5. In-house Software Development

Graphics visionary George Lucas founded Lucas Film by inviting distinguished experts. Later it morphed into Pixar and included academics from notable US universities, such as Ed Catmull and Robert Cook. They developed the Reyes algorithm that became the heart of the Renderman software, which was the main tool used by Pixar. Big graphics and film production companies in US such as ILM, DreamWorks, Pixar, Disney, employ in-house software development. In addition, most of the above-mentioned software such as Shake, Maya, After Effects, have a plug-ins infrastructure that lets one add customized support for advanced digital effects and post-production work.


The software developed may be sold commercially. Adobe Photoshop started as a family project between two brothers including the famous ILM special effects developer John Knoll. Powerful digital compositing program Nuke grew out of in-house software development from the original company acquired by The Foundry in the UK.

The following are four areas where in-house software development may help a film production house.

5.1 Incorporation of Open Source Tools

There is a plethora of open source tools available freely that are very helpful for filmmaking. A number of big US studios and production houses also produce open source tools for the promotion of filmmaking. For e.g., the OpenEXR libraries developed by ILM for high dynamic range imaging (HDRI).


5.2 Plug-in Development

The visual look and feel of a film and its sound and audio processing can be totally changed by writing plug-ins for easily available software such as Shake or Maya. In addition, visual effects that are difficult to film can be inserted digitally in post-production by writing appropriate plug-ins.


5.3 Storage and Archival

Digital film storage using frames in Cineon/DPX/OpenEXR format is a new medium for film; therefore, its standardization is still emerging. SMPTE has outlined some formats for digital storage. A number of solutions, such as "wrapper" format over the basic digital frame-based storage may be used here.

5.4 Piracy Prevention and Digital Rights Management

Digital media can be easily copied. Hence, secure method for stopping piracy and digital rights management (DRM) must be devised. Piracy prevention methods that are similar to the Fair Use solution incorporated into iTunes files downloaded from the Apple's web site are a model. Such systems would also ensure that appropriate keys and licenses are needed before even a pirated media file can be run. In addition, piracy could be hampered even if digital projection using systems similar to TI Digital Light Processing (DLP) are used.


6. Digital Studios

Establishment of digital studios that are catered for filmmaking is an important requirement. I am sure that the existing infrastructure at several establishments in Pakistan may be rapidly expanded for that. The following are the bare-minimum in addition to facilities for sound stages and audio/sound mixing.


6.1 Digital Audio Processing

Audio can be digitized and processed (editing and addition of effects) using a variety of tools on a digital audio workstation (DAW). Some of the commonly used are Pro Tools and Cubase. Apple provides tools such as Logic Pro and Soundtrack Pro. The latter is included with Final Cut Studio. Adobe provides Audition and Soundbooth. An interesting open source tool is Audacity that may be obtained freely from SourceForge.

6.2 Chroma-keying and Match-moving

Chroma-keying facilities must already exist at several local studios. Green/Blue screens are a basic required setup. However, special effects footage imposes certain more stringent requirements on these facilities. That is especially true if digital match-moving processes are to be employed. Match-moving is a powerful technique used in visual effects where footage from separate cameras is composited to give an impression as if it were shot at the same time, and is primarily used for the insertion of digital virtual objects into shot footage. However, several additional hardware components and software tools are used in conjunction to achieve it seamlessly. It is not required for a local film production house to have its own match-moving rig, as they may be rented. However, since there are hardly any digital studios operating in Pakistan that employ match-moving techniques, in-house facilities may have to be developed.
A notable exception may be the production house Sharp Image operating in Karachi, which according to its website has some facilities for match-moving.


6.3 Render Farms

Big production houses in US employ large render farms of computers that are networked together using specialized software for parallel rendering of digital media, graphics, and effects. For those short on budget, free open source software may be obtained from SourceForge. It was reported that Pixar was using a cluster of 1000 Linux based computers for rendering its movies. I do not expect an upcoming Pakistani digital production house to use so many computers together at this initial stage. However, a small dedicated render farm may be needed to materialize digital filmmaking goals.


7. Technical Training

During the several filmmaking courses I took in US, I came to realize that even regular filmmaking students do not have enough grasp of technical details that can help them become better filmmakers. In Pakistan, many ad and commercials makers are taking up filmmaking without proper training. Graphics and animation are solely in the hands of artists who just use an animation package such as Maya or 3DS Max. There is, however, an encouraging appreciation among public regarding the use of computer graphics on TV and cable-based channels. The recent Commander Safeguard ads are a testament to this phenomenon.


There are hardly any technical learning institutes pertaining to filmmaking in Pakistan. Film studies is virtually non-existent. Though, recently some institutes such as National College of Arts (NCA), Beacon House National University and South Asia Media School at Lahore, Indus Valley School of Arts and Animation at Karachi, Fatimah Jinnah Women University and Riphah International University at Rawalpindi, have started some TV and film production courses. Government of Pakistan has been considering a Media University in Islamabad for some time. However, it appears to me that it will be dedicated to journalism and mass media courses.


If Pakistan needs to engage in filmmaking at the level of Bollywood or Hollywood, the current level of technical training available in Pakistan is not adequate in my estimation. The author has outlined a number of courses that range from beginners level to the most advanced level that can quickly bring technical knowledge among film practitioners at par with that in Bollywood/Hollywood. These may be available by request from the author.


8. At Least 3 Films Per Year

We need to continuously provide people with high-quality entertainment. After incorporating several measures, I believe that a film production house serious in the revival of cinema must produce at least 3 films per year. These may be planned to be released coinciding with the Eid celebration, August -14, and perhaps one in early summer. They may also nurture an often-neglected segment of the entertainment industry, viz., classical singers. I have a firm belief that classical music incorporated from the likes of the current Ustads such as Naseer-uddin-Sami would be a healthy trend. It appears to me that biopics on some important members of the entertainment industry, such as Madam Noor Jehan, would be a great idea.


9. Marketing and Internet Advertising

I would believe that a reasonable film production may be in a position to take care of marketing and advertising on TV and cable channels pretty efficiently. However, Internet-based marketing needs to be streamlined. The recent Hollywood movies "300" and "Snakes on a Plane" generated enormous pre-hype on the Internet which helped to boost revenues.


10. Research Collaboration with Universities

A number of companies in US fund the masters/doctoral thesis of graduate students for doing research on the problems they are facing. It is not uncommon for these students to go work for these companies after graduation in the technical department. In my estimation, a proper revival of Pakistan film industry may not happen if young people can't look upon it as a career-oriented field. Previously, I identified in-house software development as an area where a film production house may benefit. They can define projects for some of the graduate computer science and engineering students at universities such as LUMS, NUST, FAST, etc. The author has chalked up a number of such projects that can be mutually beneficial to a production house and local universities, and can make them available by request.



11. Small Loans for Independent Filmmakers

The Indian film establishment has now been given the official "industry" status. This has enabled their film industry to qualify for direct bank loans and come out of shabby underworld financial deals. The technical quality of Indian movies has increased dramatically henceforth.

In Pakistan, the movie “Khuda Kay Liye” by prominent TV director Shoaib Mansoor was critically acclaimed unanimously. Recently, a horror/slasher film entitled "Zibahkhana" from the owner of Hot Spot ice cream parlors in Lahore, Karachi and Islamabad, received widespread media coverage and attention. So much so, that even Time magazine did an article on it. During my correspondence with the film director, Omar Ali Khan, he informed me that he shot his film at an "embarrassingly" low budget on an HD camera.


Well-known independent film director, Sabiha Sumar, directed a film “Khamosh Pani” that received considerable acclaim. TV director Mehreen Jabbar secured a Global Film Initiative Award (GFI) of a small amount from a US-based organization for the completion of her film, "Ramchand Pakistani". There are numerous other small independent filmmakers in Pakistan that are trying to deliver on shoestring budgets.


All this goes to say that there is great talent in Pakistan as far as directorial vision and creative aesthetics are concerned. In my estimation, Government should step in and help some small independent film projects by providing short-term loans. In addition, private filmmaking establishments may provide some of their technical infrastructure to young independent filmmakers at a reduced cost. This would ensure that a new crop of Pakistani filmmakers would emerge that are highly competent and are using state of the art technology, which they otherwise can't afford.


12. Support / Organize Film Festivals

With the possible exception of Kara Film Festival, there is hardly an avenue for exhibiting local films for a critical gathering. Such festivals are important for company promotion, marketing, and for recognizing and recruiting local independent talent.
We need to organize more festivals to support the dream of the revival of filmmaking in Pakistan. Newer facilities, such as the DHA Cinema in Lahore, may support the exhibition of such festivals.


Acknowledgment

The Author is grateful to film critic Aijaz Gul for his valuable feedback in the preparation of this article.


About the Author

Qasim Iqbal is a high-definition video expert based in USA. He may be reached at qiqbal01@yahoo.com