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Re: what's so hard?

> From:          rob at sun.alegria.com (Rob Lingelbach)
> Date:          Wed, 7 May 1997 20:18:42 -0700
> Reply-to:      Rob Lingelbach <rob at alegria.com>
> Organization:  Altruistic Intentions, Hollywood, CA
> To:            telecine internet group <telecine at alegria.com>
> Subject:       what's so hard?

> Forwarded message from nyates at nimbus.temple.edu
> -----------
> can i ask you some thing? well, i do transfers, and i adjust stops and
> stuff, but whats so difficult about this job? i mean, your careful
> with the film (fingerprints and lint and stuff), fix stops if needed,
> focus and sync the sound and your ready. i just dont understand why
> its so hard. am i missing somthing? dont get me wrong, i love it, its
> nice to make people happy and to kick back and watch a film, but
> geez. oh well:)

	Nicole what you are doing is a starting point, the visible part of 
the iceberg, transfert is something that a lot of colorists leave to 
their assistants because it is the first part of the training which 
can take several years before they work with clients. I often compare 
telecine grading with cooking (not surprising for a french guy!) you 
can fry a steack in a pan, that's easy, but then you need to be 
taught to go for the " Supreme de canard a la Richelieu" , then you 
can make you own recipes after you have done other people's ones, but 
that's a long way to go, if you are really good you can open your own 

	Cheers, JC

The Moving Picture Company
25 Noel Street
London W1V 3RD

Tel: +44 (0)171 434 3100

thanks to Ken Robinson, Steve Robinson, and Lynette Duensing 
for support of the TIG in 1997
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