Ramy Katrib: Founder of DigitalFilm Tree, LLC., Ramy Katrib is a Documentary Producer, and is currently completing two feature length documentaries:

Evolution of Nuclear Medicine (a film about proton, heavy-ion, and neutron treatment), and Raging Mardik (a film about Mardik Martin, writer of Mean Streets & Raging Bull).

As Telecine Colorist/Operator his feature credits include/ Rush Hour, Drowning Mona, Things You Can Tell By Looking At Her/ documentary credits include, The Long Way Home, 50 Years of Warren Miller.

"In September of 1999 I bought a G3/450 with Final Cut Pro. I had two large documentary projects (shot on DV & 16mm) to work on. For the past five years I've worked in a telecine facility, operating and coloring at Magic Film and Video Works in Burbank California. Magic happens to be the largest negative cutting house in the world. They cut so much negative, it is frightening."

"In April 2000 I had several revelations. I guess with time, influences, where I was, what I was doing, who I knew, I started to see the bigger picture, the convergence of film and DV. Planning for the DV film test, that we completed today, took about three weeks. It was great how everything came together: Sony generously loaning us a DVCAM DSR2000, Loran (FilmLogic) flying in from N. California, Shay showing up with one day notice, Dan, Edvin, and Henry all being available. Most had never met each other before, all came from their own worlds, all meshed and collaborated beautifully."

"In the back of my mind I thought the DV film test was not going to work. When you're cutting negative, you're accuracy has to be at 100%. I had all these contingency plans I worked out with Edvin, to solve any problems that came up. The most intense moment for me was when Edvin was about to make the first cut. He said 'perfect,' then the second cut, then the third cut, it was all 'perfect.' I was like... wow, this is incredible. We did experience problems with FCP but we were able to manually fix them. The FilmLogic software worked perfectly. We have much more testing ahead, like working out the FCP bugs, dealing with all audio issues, and standardizing the whole process. We'll collaborate with more experts, and conduct tests that are scientific and reproducible."

"There's going to be a range of reaction to the reality of transferring film to DV, cutting on a DV NLE, then finishing on film. Some will not be enthusiastic, for whatever reason. As far as people like me, who are already working with film and DV, people like the clients I've had in telecine, people trying to realize their dream with little to no money, they're going to be ecstatic... thrilled. And if you can verify for them that it all works perfectly, then before you know it, folks won't think twice about using DV."

"I think the convergence of film and DV is going to empower the little guy and the little gal. It's going to serve the independent filmmaker. The pros will utilize the technology also because...why not. There are so many possibilities. For our clients who are shooting 16mm or 35mm projects, we'll transfer dailies to DVCAM and/or Beta SP. Clients can edit their film on a rented Avid Film Composer using Beta SP or DVCAM. The clients also have the choice to edit their film entirely on their Mac or PC at home, using DVCAM or Beta SP tape.The Avid and the desk-top NLEs' will both have the same tape timecode, audio timecode, and Keykode values. Filmmakers now have more choices."

"Since its birth, DV has evolved from 'consumer' to 'prosumer' to 'professional' applications. I think DV will be the format that replaces 3/4 outright. I join those who predict that in the next two years, you'll find the DV format, in all it's manifestations, in most post houses world-wide."

"Some random points, I think film is like God, and video is like God's messenger. As far as Avid goes, they make the most refined film/video editing systems in the world. The NLE landscape is changing rapidly."

"Film editing has been around since film. It has evolved over time from the moviola, to the flatbed, to the Avid-editing suite. Now you can edit your film in your bedroom, right there on your desktop Mac or PC. It's an evolution, it's the 'democratization' of film editing, brought to you by the Digital (DV) revolution (for better or worse or both)."

"DigitalFilm Tree, LLC was founded to lead the DVFilm convergence. We are the new tree on the block. That's it for now. Cut."