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Re:psychology of correction

On Jul 7, 20:30, Robert Lovejoy wrote:
} Subject: Re:psychology of correction

> His main thing is loading a humongous amount of chroma into the
> signal.

My least favorite method of image destruction.

> Anyway, the point in all this was that even though I personally disagreed
> with my client, I did no more than advise him politely that he was calling
> for a LOT of chroma,

If you can depersonalize at that point, it's important to do so.
Because when the director walks in and says "what are you doing to my
film?" I have a tendency to be quite embarassed, because I feel he
will think 'twas I who had a part in the decision.

> He'd ask for a "scotch"(long
> o) more yellow, 

That's "a scosche" I believe, as in "a scosche more room" from the
Levi's ad.

> Another favorite transfer game of his is setting up two corrections, then
> asking to "split the difference"...  

Ahh, he's one of those.  What often happens to me is that I've made
the adjustment in the B correction that should bring us into alignment
with the previous "STD's" (split the difference corrections), and he
still asks to split it!  Then, if it keeps happening, we are splitting
hairs.  But that's what it's all about sometimes.

> Often problem clients become facility bonanzas.  It takes this fellow about
> twice as long as most clients to transfer a given amount of film.  He's
> happy, we're happy, and that's my tale for today. 

Outstanding example of my confusion principle, which is something
like "don't fret about something not being perfect, or even good;
there is profit and humor in the offing".


Rob Lingelbach KB6CUN  | 2660 Hollyridge Dr LA CA 90068 213 464 6266 (voice) 
rob at xyzoom.alegria.com | "I care not much for a man's religion whose dog or 
rob at sun.alegria.com    |  cat are not the better for it."  --Abraham Lincoln