• Facilities

    A tour of the best studio in LA

  • Technology

    Our industry-leading tools

  • Team

    What you need to know about us

  • News

    The latest word from our studio

  • Awards

    They're overflowing our break room

With more equipment, designers, and technology than any other studio in the region, we had to find some place to house it all. A 15,000 square-foot studio seemed to fit the bill. Our studio is complete with:

  • Digital Lab for RED, Phantom, and Arri Footage
  • Avid and Final Cut Suites
  • Flame 2K VFX Suite
  • Smoke 2K Editorial Suite
  • 4 Compositing and Visual Effects Suites
  • Offline Editorial Facilities and Production Offices
  • Audio Editing, Mixing, Playback, ADR, Foley
    and Mastering Suite
  • Digital Intermediate Suite
  • 2K Theater

And that’s just a sample of everything our facility has to offer. We haven’t even mentioned the ping-pong table or Nintedo Wii room yet.

Technology To the Top ↑

San

SANfx

We house Louisiana’s first and only full-service 2K and 4K pipeline for motion picture digital intermediate (DI) workflows. At the heart of our DI workflow is the region’s largest and fasted SAN. Our system can handle 1.5 GB/s with 8 simultaneous 2K streams to any suite in the studio. We can edit, manage and share 2K content in real time from multiple workstations. With that kind of capacity and speed, we can handle any feature film project in a real-time digital environment.

With our DI workflow, we can provide controlled input to output calibration, hold an entire project using handles in full resolution (2K or 4K), playback in real time at full resolution and respond immediately to any changes necessary. Additionally, during this process you can compare online to offline via real-time and split screen views, make full colour corrections and repair images.

When all is said and done, our DI workflow allows almost unlimited flexibility without the need to process film. And, since you can see, in real time and at full resolution, changes as they are made, the finished quality of your project is guaranteed. The process saves time, money and the integrity of your film or video.

Smoke

Smoke 2K/Flame 2K

We’re the only studio in the region with both a Flame 2K and Smoke 2K suite. AutoDesk Smoke 2K and Flame 2K are recognized industry wide as the premiere systems for online visual effects, compositing, and editorial. Autodesk technology has been used on numerous feature films such as Pirates of The Caribbean, Valkyrie, The Chronicles of Narnia, and No Country For Old Men. In fact, every film nominated for an Oscar in visual effects for the last 14 years has been shaped by Autodesk technology.

Clipster

Clipster

We are the only post-production house outside of New York and Los Angeles with the Clipster system. Clipster is at the very heart of our DI workflow and replaces all the steps we used to take in our workflow with one system, one product. Online editing of film data, conversion to various output formats, color correction, film restoration, DCP creation and many other features all at full resolution (up to even 4K) in real time. It can handle uncompressed 4K data in real time and even provides DCI mastering in real time.

Complete RED Integration

Clipster offers complete RED integration. So not only are we saving time in our DI workflow, we’re saving time in our RED workflow as well. Clipster provides decoding and debayering of 4K REDCODE in real time. The speed of the Clipster system with RED data will allow us to offer clients dailies in one step in full quality in real time.

Key Features

  • Hardware accelerated real-time RED workflow
  • 3D stereoscopic DCI Mastering
  • Support of DVP/IMF workflows
  • Sophisticated DCI Mastering
  • Conform and edit SD, HD, 2K and 4K material
    in real time
  • Realize a large variety of DI steps ranging
    from capturing to DCI mastering
  • Process uncompressed data, such as DPX , TIFF 8/10/12 or 16 BIT in real time
  • Implement a future-proof workflow that supports HDTV 50/60p or Digital Cinema (DCI)
  • Benefit from excellent interoperability
    with third-party applications
Fcp

Final Cut Pro

Digital FX has utilized Final Cut since its inception. Our experience with Final Cut, our talent and the support hardware we provide (such as the region’s largest and fastest SAN) make Digital FX a regional leader in Final Cut editing. And, unlike some of our competitors, we have experienced artists and designers in our Final Cut suite, not just technicians or button pushers. The result is plain to see.

Avid

Avid

If there’s a standard in video editing, it’s Avid. How much experience do we have with Avid? Honestly, that’s a little like asking how much does New Orleans love the Saints. More than you can possibly imagine. In fact, we probably have more awards from work we’ve done on the Avid then most companies have total projects. And, just as with all of our post suites, we don’t use technicians to create art — we use artists.

Qtake

QTake HD

Digital HD Video Assist

  • Touchscreen UI
  • Instant Record & Playback
  • RED ONE Support
  • Red Mag Synchronization
  • Extensive Clip Database
  • GPU Image Processing
  • Visual Shot Browser
  • Stereoscopy
  • Realtime Composite
  • Render Output
  • 3D LUTs
  • Import & Export
  • On-set Editing
  • Video Output
Xsi

SoftImage XSI

Our 3D team utilizes SoftImage, a 3D modeling, animation, rendering, and compositing solution that has enabled our artists to create jaw-dropping animations and effects. With the most experienced 3D team and the largest Render Farm with 128 processors, 50TB storage and custom render management software, Digital FX is the premiere 3D team in the region. Our work for National Geographic Television, Discovery and numerous features have earned the team multiple awards including 14 Emmys.

Team To the Top ↑

Greg

Greg Milneck

President and Founder
Television and film production is not Greg’s first love. He was destined for stardom as a New Orleans street performer re-enacting battles from the Spanish-American war with interludes of his interpretation of Vanilla Ice songs played on the bassoon. But, in 1999, YouTube ended his career. He was caught on camera sipping a venti pumpkin spice latte at Starbucks, ruining his street cred. Given that, he now devotes all his time to continuing to build the largest and most creative post house in the entire Gulf Region. He still refuses to even utter the word “YouTube.”
  • Greg
  • Kathy
  • Steve
  • David
  • Peter
  • Matus
  • Erin
  • Aaron
  • Max
  • Justin
  • Jonathan
  • Brian

News To the Top ↑

Digital FX Again Dominates Addy Awards

19 days ago

Adding to what has become an annual event, our work once again garnered the bulk of Addy awards for television productions in the Baton Rouge AdFed’s Addy Award ceremony held Saturday. Our work received 22 total awards for our clients.

Read More

Upgraded to the RED M-X Sensor

29 days ago

Adding to our aresenal of high-end video and filmmaking technology, we are now the first in the region to adopt the RED Mysterium-X Sensor upgrade – providing even greater range and image detail to the RED One camera.

Read More

DVS Clipster added to our Growing Arsenal

6 months ago

Clipster is now the heart of our DI workflow, replacing the need for multiple products. The system offers online editing of film data, conversion to multiple output formats, color correction and film restoration. Clipster is also capable of handling any resolution, including 4K. Since the system functions in real time, the normal delays in a DI workflow no longer hold up a project.

Read More

The FX of Change

8 months ago

225 Magazine features Digital FX in the annual Best of 225 issue. Check out the article here.

Read More

Featured in June Issue of Post Magazine

9 months ago

See Red Spots Post Magazine (June 2009)

Digital FX is featured again in the June issue of Post Magazine. See Red Spots looks at commercial production and see lots of Red. Check out the June 2009 issue here.

Read More

AUTODESK: Developers of Autodesk Lustre receive 2009 Academy Award. (Sci-Technical) Watch here: http://bit.ly/9p1BDT (via @VisualEffectsSo)
about 2 hours ago
The latest BETA version of RED ONE camera firmware has been posted on RED.com – Build 30 RED ONE Beta Firmware, v30.4.1
about 5 hours ago
Found a new 35mm Summilux today...look forward to shooting with it this weekend. Thanks @stevehuffphotos
about 5 hours ago
LOL!! I feel your pain. its not really called a locked off shot if your dam cam moves (via @Filmbot)
about 10 hours ago
RED CAMERA WEBCAST March 16th 11AM PST With Ted Schilowitz, Cioni, and Pederson Createasphere http://bit.ly/c3UP8F (via @VisualEffectsSo)
1 day ago

In the Press

Awards To the Top ↑

Award

If there’s anything we’re a greater authority on than post-production, it’s got to be awards. Come by and visit the office sometime and you’ll quickly realize that you’d have to spend a week just trying to locate every award tucked away in every available nook and cranny in the office. So how many awards do we actually have? Honestly, we haven’t bothered to take the time to count them all. We’re too busy creating award winning work.

220+ Addys

Including:

  • Best in Show, Broadcast ’04-09
  • Best in Show, Mixed Media ’10
  • Best in Show, Art Direction ’03, ’06
  • Best in Show ’04

20+ Emmys

Including:

  • Emmy for Directing ’01-03
  • Emmy for Camera ’02, ’99
  • Emmy for Lighting ’99, ’00, ’02

3 New York Festivals

  • World Medal for Film & Video ’99
  • World Medal for Non-Broadcast Media ’96-97

20+ Tellys

Including:

  • 4 Golds ’00
  • 5 Golds, 4 Silvers ’99
  • 4 Golds ’98

Oscars

Were working on it…