[Tig] Old words die hard

hugh at hjwaters.co.uk hugh
Thu Apr 3 16:53:30 BST 2003

Whilst we're thinking of what things are called where, I'm working on an
assignment for a client who's main technical area is known throughout the
company as 'Telecine'. Strange then that there has not been a telecine
machine in the building for more than a decade! The room is a duplication
and switch centre really.

Presumably people will talk about 'telecine' long after a room has gone all
digital too.

Hugh Waters
Waters Technical Services
hugh at hjwaters.co.uk

----- Original Message -----
From: "Kassner, Neal" <NJK at cbsnews.com>
To: "'Rob Lingelbach'" <rob at calarts.edu>; <tig at tig.colorist.org>
Sent: Thursday, April 03, 2003 4:34 PM
Subject: RE: [Tig] production: the Big Eye (argot)

> Wayne Veitschegger supports the TIG.
> NAB Focus Sheet at
> http://www.colorist.org/TIGNABFS03.txt
> On 4/2/03 7:40 PM, "Rob Lingelbach" <rob at calarts.edu> wrote:
> >When I said "big eye" or "big guy" (or is it "big
> >I") he nodded and I said 50k hardlight, right?  he said no,
> >there's no such thing as a 50k, 10k is the highest.
> Around the time that Rob was working in production here in NYC I was
> around the corner from him at a lighting rental house which was also the
> distributor for Mole Richardson lighting products. Based on my
> of their catalogue from back then, they marketed two different 10K
> lamps--one of which was billed as the "Big Eye 10K". It featured a much
> larger-than-standard Fresnel lens, designed for more punch over a wider
> field, i.e. location rather than stage shoots. As I recall, the next step
> was to a carbon-arc lamp, whose housing had the same approximate
> as the Big Eye Tenner, but which smelled worse.  Then HMIs came along and
> started sending fewer arcs out on jobs. Back then, Local 52 rules
> one man per lamp for arcs to keep the carbons trimmed and burning evenly.
> But I don't remember Mole offering anything higher than 10K in its
> incandescent line. Maybe somebody else did, though...
> Also, I suspect that some of the New York lingo is based on Broadway
> traditions; at least some of the work force migrated from theater to film
> and video production back in the day. Even now there's a certain language
> discrepancy between networks and even within the same company. For
> what we here at the CBS Broadcast Center call a control room is known as
> "the booth" at CBS TV City in LA.
> Neal Kassner
> Colorist
> CBS News/NY
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