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Re: Color Correct Xfer
I understand Yuri Neyman's main points, and I agree that the
'accurate' transfer of dailies is more important than ever. But I'd
like to take issue with few things:
> "During a film-to-tape transfer, the main tool used to ensure the
> correct color is the video monitor. But it is well known that most
> professional edit and transfer suites have only one color monitor
> because it is impossible to have two that are alike.
Monitor technology has improved significantly in the past decade, such
that I can walk into any of the transfer suites in the company where I
work and have negligible differences in monitor colorimetry. Your
point about why we have only one color monitor in the bay is true, but
the degree of difference is significantly less today than it has been,
historically, and I feel now that environment and lighting play a more
significant role than the monitor, given that the monitor is set up
properly and is of a certain quality or brand.
> goes three hours over and the daytime colorist takes off. The person
> transferring your dailies is now three hours behind schedule and has
> to try and return the system to the previous day's settings before
> starting with your negative.
Most color correction suites today have computer control of most
features of the telecine, so every session starts from the same point.
> Even if he recorded every setting, video
> equipment is subject to 'drift,' so there is no returning to the exact
> same place.
I know some colorists here who exhibit drift, every two years when
their contract is up, but dare I say that at least here in L.A. the
majority of telecines don't drift?
Rob Lingelbach | 2660 Hollyridge Dr, Los Angeles, CA 213 464 6266
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