[Tig] trim passes, pt 2 man vs machine

Seery Adrian Adrian.Seery at technicolor.com
Mon Nov 15 23:13:45 GMT 2010

Hi there,

 Anyone with Baslight experience available for a bit of freelancing in London? Quite urgent. The work is high end fashion/beauty. Let me know and I will pass your details on .

Adrian Seery,
From: tig-bounces at colorist.org [tig-bounces at colorist.org] On Behalf Of Sean McKee [sean at screentimeimages.com]
Sent: Saturday, November 13, 2010 11:10 PM
To: Lou Levinson; tig at colorist.org
Subject: Re: [Tig] trim passes, pt 2    man vs machine

Sohonet http://www.sohonet.co.uk sponsors the TIG.
Digital Vision is patron of the TIG.
Thanks to Christian Cortez for his work on the TIG wiki.

Hi Lou,

At this time, all Point.360 has announced is that we have developed the technology, no sales pitch. What happens next I won't speculate on. We're working on a variety of new tech, and we'll throw a bunch of ideas at the wall and see what sticks. We have a lot of ideas flowing that are all being explored, some more than others. Who thought we could've archived color images on a single strip of B&W film using math? Now there's something that we are selling, because it benefits the community. But not all creatures created in the lab will see the light of day...


Sean McKee
Restoration & New Technology
Point.360 Digital Film Labs
2777 Ontario Street
Burbank, CA 91504

Lou Levinson <joe.beats at yahoo.com> wrote:

>Sohonet http://www.sohonet.co.uk sponsors the TIG.
>Digital Vision is patron of the TIG.
>Thanks to Christian Cortez for his work on the TIG wiki.
>            i've been involved with attempts to automate the colorist's tasks since, wellsince the beginning, so here's what i'll say.
>            1st: david, we should have no expectations that our world will do other than evolve.    in this business uber alles climate, we have to stay ahead of the automatons by providing better product with competitive rates and schedules. and enlighten the studio folk who may not get it
> when we are able. as much as there's a general feeling among those who care that the studios don't, there are signs that those consumers who do care can in fact influence the quality level at the studios. the financial waters
> are currently muddied by the fact that we have a number of studio facilities to compete with, and they have anything but real-world economics. add deluxe and tech using the last of the release print money to power themselves into the future, and you get some idea of the terrain we face.
>           sean, while i'm always impressed by techology, i'm more impressed with technology serving art. the single biggest problem i see with what you're trying to sell is that, like all computer processes, it's garbage in, garbage out. keep in mind that many studios have been operating on do the least for more than one generation of home delivery now, so there's a good chance that the reference has been handled inexpensively, not well. if we get into an age where there are bonuses for performance beyond cost cutting, all this means is more work for those of us who have the inclination to care and the skillsets to
> walk the walkand i haven't even gotten to the bits about charts onset, ect. why, if we go all linear lightall the time, and know exactly what we want before we do it, what's to change?? this isone reason why the acs-cdl was devised, and it's considered as a starting point, not an end all and be all.
>to paraphrase the eminent dr emmet brown:
>           "as long as you hit the wire going 88 mph, at the exact instant the lightning strikesthe clock tower... everything will be fine??"
>         engineer of a well know facility to a well know colorist, about 1987:
>                       "aren't you afraid that this latest computer technology is going to make                        your job disappear?"
>       colorists retort:
>                       "build HAL 9000 and i'll retire"
>as always, remember:  the least expensive way to do ANYTHING is to do it right the 1st time
>                                                          lou

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