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Re; 'Legaliser'?

Rob asked;
>Is anyone using Pandora's 'Legaliser' who can report on its efficacy
>in RGB limiting?

The DCP is an RGB device with all its internal processing taking 
place at full RGB resolution and, wether fully optioned with ESR
or not, it has always had a switchable legalizer at its output. We,
like most houses, run with the legalizer on and this would tend to
explain the general lack of comment on this issue from Pandora

As Bob Festa said the simplest way to avoid problems is to run
like this but we do not have any of the artifacts mentioned in other
postings, such as harsh white clipping or black quantizing, and it
has never been a problem to produce a specific pack shot colour
for a Client. Nor is there ever a problem when the colour processing
is creatively pushed as the legalizer is very gentle as it runs to the 
limits of the RGB space. Operationally the legalizer is "invisible"
and allows concentration on the main monitor rather than the
WFM's and 'scopes.

The Henrys here rely on the HP predictors and obviously these are
required if further processing is done on the telecine rushes. As a 
working practice though we find that if doubt exists as to the 
transmission legality of the Henry output it is far easier to quickly
route it through a DCP and rerecord that back into the Henry. If 
there is a resulting colour change to a title or whatever then at least
the Client is involved in the process. We occasionally have to do 
the same for externally produced masters which we are going
to "play out " to the TV Networks as the HP Chroma Predictor in
the TX area is quite "harsh" in its operation. Generally we always
try and get the Clients to book a final DCP tape session, especially
on jobs that involve intensive post production, as it is then that any 
of these problems can be solved.

Serial digital routing and digital recording have removed many of the
common Client complaints concerning the change in colorimetry
from their original grading session as they moved between suites
in a particular post house or indeed between post houses. As the 
telecine chain has increased in quality and power, as well as cost
to both ourselves and our Clients, such changes from the original
grade are even more unacceptable. When we produce a "look "
in a session it is important to us and the Clients that it is maintained
right through to final transmission. 

The above comments are from my viewpoint as a user and in response
to the original question from Steve and Robs last posting. However I 
feel that it is of general interest that the Legalizer is also a separate
product.  I gain nothing from that statement.

Seamus O'Kane.
VTR Ltd. London.