[Tig] RE: Explain primary-vs-secondary color correction

Jim Mann jfmann
Thu Mar 28 07:55:25 GMT 2002


Hi George,

Yes You're sort of on the right track. First I am going to make a couple of
assumptions. One , that the Telecine in question is a Cintel (Was Rank) Mark
2 or 3 and that the Color corrector is a Sunburst II.

With this type of set up you really control two Primary Color correctors.
One in the Telecine and one in the Sunburst. You will notice that the "main"
Sunburst panel is divided into 4 sections. The section on the lower right,
controls the telecines internal RGB colour grade, the lower left controls
the Sunburst's YRGB primary corrector. The upper right section is what we
call a standard 6 vector secondary corrector that is it divides the
vectorscope  "Pie" into 6 slices giving HSL control over each vector.
Finally in the upper left is the Sunburst secondary corrector this gives HSL
control over a single vector, but also has what we now refer to as
"qualifiers". The big knob selects the hue, then there are controls to
select the Luma value and the Saturation value to be effected. There is a
small button in this area that might say "setup" on it, this turns the
Picture B&W except for the vector you are effecting.

I have not worked on one for years, but I'll help if I can.
Hope to see all my fellow TIG'ers in LV and rest assured I won't be driving
a Sun II.

Good Luck,
Jim Mann
Freelance Colorist
516*481*7267
New York
 -----Original Message-----
From: 	tig-admin at tig.alegria.com [mailto:tig-admin at tig.alegria.com]  On
Behalf Of megazoid at bigfoot.com
Sent:	Wednesday, March 27, 2002 3:31 PM
To:	tig at tig.alegria.com
Subject:	[Tig] RE: Explain primary-vs-secondary color correction

Can someone explain to a newbie what the difference is between primary
and secondary color correction as would be found on an older telecine
using a device like a Corporate Communications or similar system?

I assume primary has to do with what the telecine itself is capable of
on its own and secondary has to do with affecting the color vectors and
such after the signal leaves the telecine.

Am I on the right track?

Thanks,
George Odell
TFG Film & Tape


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