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Ref Charts

Dave Wrote:

>To JPB, 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

Dave, you quote me on something I never said: I was mentioning to your 
group the Yuri Newman's IW in the Am. Cine, as I thought the words were 
worth to be known by the colorist community.  It is true they reflect the 
bad vibes some film people feel entering a telecine room.
I personnaly think color charts on one side, and TAFs on the other, are 
items not to be used on a day to day basis, it's more of a telecine 
maintenance technician concern to use these pharmaceutical products to 
adjust his primary and secondary CCs with. 
Color "translation" from film to tape is and will remain a colorist 
know-how.  I wrote "chrominists" as a joke about your supposed 
attachement to vertoscopes and chrominance levels.  Have you ever read a 
computer made translation of a poem ? Chromasters would better describe 
your activity.

As you know Aaton began in the film industry some 25 years ago by making 
Super16 & 35mm cameras of the light and mobile sort.  We were thus 
exposed to the hectic-situation fimmakers from day one... and still we 
are!  For these clients, charts of any sort are not well received for 
sure, but on the other hand - as most of you pointed out - they are less 
and less careful about exposure correctness and too often blame the 
people downstream. 

Here enters Kodak and his TTEF master judge. 
It's a way to push the 'Colors of the VIDEO' responsibility where it 
belongs - the colorist - and the FILM exposure density correctness where 
it comes from - the DP.  
With TTEF we are talking about grays all over the chain: grays on the 
three patches of the calibration film, grays with no blacks, no whites, 
plain gray on a piece of cardboard.  As it is easy to fabricate a 
NON-SPECULAR gray disposable card (not chart), this will not prevent the 
most hectic-filmmaker to buy many and show them to his lenses.  
The beauty is that not only the DPs know where they are on the density 
scale - like in the good old days - but they will get TPs (Transfer 
Points) quite near the PPs (Printer Points) film labs are working with.
Some preliminary experimentions shown constant offsets between telecine 
TPs and printer PPs.  It will become in the Video Facility/Film Lab 
interest to communicate each other their relative values. 
At Aaton we loved the Kodak TTEF idea - peace at last - and we put the 
Keylink digital channel to work both our way (a software plug-in), and 
the Rank way too (a metering box on the PMTs output). 

We will not call this item a Chromaster, NO no.


J-Pierre Beauviala  aaton at alpes-net.fr
2 rue de la Paix BP104, 38001 Grenoble France	
tel +33 7642 6409   fax +33 7651 3491