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Mixing it up
We have all seen the trends in telecine abuse over the years. Kaleidoscope
softening, 6 frames per second, shakey cam, and the blue period for
instance. Who can give us some information on the latest in creativity;
>From my understanding, cross processing involves a technique such as
shooting an Eastman Camera Negative in a traditional fashion, but instead of
processing in a ECN-2 developer, processing takes place in a non traditional
print developer soup, such as process E-6. My understanding is that this
process is a positive, or release print developer. This technique gives rise
to a whole new group of exposure variables such as exposure times, exposure
latitudes, and all of the associated processing issues such as time,
temperature, and force processing of camera films. Clearly, the resulting
image has some interesting modulation-transfer curves as well as all of the
twisted spectral dye density curves you would expect.
I've tried to duplicate this technique with "normally" exposed film using a
heavy colored blue filter in the gate of the telecine, and balancing out the
yellow image to the best of the film chains ability, with little luck. Even
twisting the secondaries in a kamasutra does'nt offer much help.
Anyone have any ideas on how to duplicate this look using traditionally
exposed camera negative? By the way, I recently transferred some images shot
on B&W motion picture optical soundtrack negative. Guess what the flesh
tones looked like?
A variation on stupid telecine questions:
Client; Bob, what can you do to make this shot work.
Colorist; I'll need a camera and some lights.
(don't try this at home kids!)
Stepping down now,
Bob Festa Festa at pacbell.net
Director of Telecine bfesta at encorevideo.com
Encore Santa Monica 310 656 7663
Linux...the choice of a GNU generation.