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FWD>Color Correct Xfer

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Good points!
Please note responses below

Dave Corbitt

>   JPB <aaton at alpes-net.fr>   wrote-->
>        "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. 

Monitors can be and are calibrated to standards set up by SMPTE.  Its 
difficult but not impossible to get 2 monitors to match but it's 
impractical to have 2 $12,000 monitors in the same room when most people 
are happy with one.  Where would the second monitor go?  I am of the 
opinion that it is time we had bigger monitors so everyone in the room 
can get a better look at the same picture.  It is not impossible to get
projection technology to be as stable and easy to calibrate as our 
present "A" grade monitors.  It's just that the manufacturers haven't 
seen the need yet or can't justify the investment for the predicted return.

RE>...using an inexperienced colorist in an unsupervised transfer and 
then being disappointed with the results....I think it goes without 
saying you get what you pay for.  
We also don't have any control at all over how the clients view their 
video dailies.  Are they using high quality formats viewed on calibrated
monitors under controlled ambient light or are they looking at a 3/4" 
cassette played on a worn out consumer set in a brightly lit office or 
living room?
Day to day maintenance of consistent color and "look" is why so many
facilities use digital still stores to grab sample images as a reference. 
Today's telecines are pretty good about day to day stability. The URSA and
URSA Gold with their Auto Align do a great job of maintaining consistancy.  By
using careful daily set up procedures on the older MK3's consistency is also
very good on these venerable workhorses if the machines have been properly
maintained and updated.
Dave Corbitt