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Re: what's so hard?
- To: telecine at sun.alegria.com
- Subject: Re: what's so hard?
- From: Donna358 at aol.com
- Date: Sat, 10 May 1997 11:49:44 -0400 (EDT)
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I wanted to add my two cents to the "what's so hard" thread.
I think that a problem inherent in a "school or educational" environment
is definition. There is a huge disparity between what is taught and what we
really do. The area of "telecine" is one. The notion that the really
prestigious jobs are in network television is another.
The definition of "telecine" as a film projector into a video camera has been
obsolete for at least10 years. The proper term for that is "Film Chain". In
the old days (less than 20 years ago actually,) the main use for a film chain
was to transfer news film to video for broadcast. That was when news
departments shot exclusively on film. They even had their own processing in
house. The advent of Electronic News Gathering changed all that.
(secondary use was to transfer/or even air the occasional 16mm comercial,
or program, for example, Star Trek used to ship on 16mm reels) It is
probably safe to say that you won't find a working film chain in any major
market television station. You may find some in the lesser markets. The
quality expectations from producers and advertisers has led to the majority
of film based program materials being delivered on some tape format, rather
than as a film print.
Although it is not realistic for colleges to acquire the current state of the
art equipment, (the average telecine will cost anywhere between 1.5 to 4
million dollars to build, and 50% of the equipment will be obsoleted in 2
most universities in large markets, Los Angeles for example, affiliate
themselves with post production in the area.
I strongly urge you to accept Mr. Lovejoy's offer and go see a telecine. He
can teach you about transfer of blue screens/pin registration/pulling mattes,
and all of the complex paths required to make special effects for film OR tv
work. You see now a telecine is just as likely to be transferring film for
special effects computers which will actually be scanned back on to film for
use in a feature film as it is to be tranferring material for use in the home
video, tv programming, or commercial market.
thanks to Ken Rockwell, Dwaine Maggart, and Joe Wolcott
for support of the TIG in 1997
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