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Magazine article about color correction

My name is Mike Fickes, and I'm writing an article about color correcting
for Markee Magazine, a film and video trade publication read by production
and post production people in the southeastern and southwestern U.S.

This will not be a technical piece on color correction techniques and
systems, but an overview for producers, directors, camera operators, and
others in the production and post production loop who might not understand
enough about what you need to do your best work.  While commercial, feature
film, and broadcast people read the magazine, the audience probably tilts
toward the commercial side of the business.

I would like to base this article, in part, on your responses to the
following list of questions.  If you want to participate, you can respond
through a group posting or email to mafickes at clark.net.  Please include
your name, title, company, and phone number (if I don't understand
something, I'd like to call for clarification).

The list of questions is fairly long.  Don't worry about answering all of
them.  Choose one or two that interest you.  If none interest you, feel
free to tell me what I should be asking and then answer that question.
Whenever possible, make your point through examples of projects you've
worked on.  If you're afraid a client will object, leave the names out or
let me know that names are "off the record" and I'll disguise the story

My deadline for this article is December 1.  So it's important that I
receive your responses sometime toward the end of the Thanksgiving weekend,
November 27 or so.

Publication is scheduled for early January.  In return for your help, the
editor of Markee has agreed to let me post the finished piece to the group
shortly after publication.

That said, here are some questions:

1.  What should producers and directors know about recent innovations in
color correction?  What, for example, can you do with Power Windows?  And
what can production people do to properly prepare for a film transfer
session during preproduction?

2.  How has the work of colorists changed over the past two or three years?
What is your primary role and how has that grown or expanded?  What are
the qualities of a good colorist -- today and five years ago?

3.  What's a one-light transfer and why do it?

4.  What are the advantages and disadvantages of using 16mm film as opposed
to 35mm film -- from a colorists point of view.

5.  What are the advantages and disadvantages of film-to-tape and
tape-to-tape color correction?

6.  What do these numbers mean?  4:4:4, 4:2:2, 8:4:4, and 8:8:8.  And what
are the advantages of one over another?

7.  What are the major differences between Rank and BTS telecines?

Thanks for your help.

Michael Fickes                          Voice:  410-666-8866
Fickes & Company, Inc.                  Fax:    410-666-8867
10107 Woodlake Drive - F
Cockeysville, MD 21030                  Internet:  mafickes at clark.net