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Re: what's so hard?
- To: bricky at xtra.co.nz
- Subject: Re: what's so hard?
- From: Dominic Case <apfacil at ozemail.com.au>
- Date: Mon, 12 May 1997 11:12:14 +1100
- CC: telecine at alegria.com
- Old-Return-Path: <apfacil at ozemail.com.au>
- Organization: Atlab Australia
- Resent-From: telecine at sun.alegria.com
- Resent-Message-ID: <"wLyaUC.A.x_D.Y7mdz" at sun>
- Resent-Sender: telecine-request at sun.alegria.com
- Resent-To: multiple recipients of <telecine at sun.alegria.com>
Deidre McClelland wrote:
> If . . .
> 11. you have enough knowledge of film, labs and camera problems that
> become apparent at the telecine stage and cause clients to panic.
> Knowing what could have caused problems and if they can be repaired may
> save a lot of undue stress or reshooting.
> 12. you have enough knowledge of the rest of the post production phase
> so that what you do in telecine is going to be a help to other operators
> i.e correct timecode for editors, different grades to help keys, mattes
> or other fx.
I wish I wish I wish.
Yes there are a few such colorists - they're probably worth more than
the President of the United States gets.
thanks to Sam Dlugach, Dean Humphus, & Clark Bierbaum
for support of the TIG in 1997
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