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Re;Windows, layers & masks

With regard to Kevin posting where, regarding > one da Vinci primary
window< he said;

>>To do the same in
> layers, would involve the base layer, a layer for the "inside" grade, and
> another layer for the complimentary outside grade - 3 layers.

Ken posted in reply;

> Absolutely wrong, it would take two layers the same as dV and Pogle
> (errrr Seamus?) 

Quite right Ken you just open a layer over 360 degrees, open
a region and thats it, you have the same correction, but you can 
create it as Kevin presumes by creating the inverse of your
opened layer on another layer. To do this takes one mouse

Therefore you are both correct and, although the extra mouse
click gives another creative dimension, your discussion is
interesting in that it highlights another viewpoint of the original
"layering & windows" question, ie the creative power of the 
colour corrector is as much a function of its user interface
and control system as its method of operation.

The intergration of layers, windows and isolation with all
colour variables is fine, but this level of complexity will
be wasted if the interface holds the user back.

Kevin also writes regarding the layering approach; 
 >> On occasions this allows more processing to be applied
than say the windows approach, although there is a severe time 
I agree with Ken that the individual users familiarity with a
system is of prime importance regarding speed of operation
and I would never assume a time penalty arises from using
layers. Again, however I would say that it is only in the interface
that the system can become intuative to new users as well as

All of the current correction systems are a huge improvement
on the past and their development has pushed telecine into
the creative process it is today. This will continue as new 
techniques for the definition of picture content allow for even
more creative processes.

Seamus O'Kane
VTR Ltd. London.

thanks to Ken Rockwell, Dwaine Maggart, and Joe Wolcott
for support of the TIG in 1997
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