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Re: 3 perf Post Mortum

"E. Casey Stangel" <cstangel at fotokem.com> asked:
>Now that pilot season is wrapping up, I would like to hear from those who
>were working with 3 perf.  How did it go?  Was the image quality ok?  Did
>you fry your tubes?  Were your databases correct?

We have just finished pilot season here at Complete Post. I don't have the
statistics yet but we had days that there would have been six rooms running
3perf if we had the ability. 3perf was used in over half of the 35mm shows
that we did last season and Complete Post accounts for a large number of
the sitcoms running on six networks. It appears that next season will
require more 3perf production as a reaction to advanced television

There is really no fundamental problem with post production on a 3perf
show. The telecine handles it without any real setup problems whether it is
a Gold with a 3perf gate or URSAs with MetaSpeed (and the standard gate.)
The only consideration seems to be whether the cameras sere set up for full
aperture or academy image centering. We use Evertz Key-Log to create
databases and digitize on both Lightworks and Avid platforms.

In theory, Lightworks is the only platform that can deal with the film key
number data (in 3 perf format) thru the production and create a film cut
list from the EDL. I have not actually been involved with the final test so
cannot report on how reliable it is.

Image quality is more than OK. After recording to digiBetacam, I cannot see
any difference in a 35mm 4 perf and a 3 perf transfer given a level playing
field of competent DPs and the same Eastman stock. A 3perf transfer from
Vision stock exposed by a DP that understands the stock is awesome.

With our experience doing 3perf on URSAs, Golds and MKIIIs, I don't think
the patch size is a concern. We mix all formats from Super 35mm to Super
16mm on the telecines.

--- David Tosh  dlt at earthlink.net
--- Video Engineer, Complete Post, Hollywood

thanks to Sam Dlugach, Dean Humphus, & Clark Bierbaum 
for support of the TIG in 1997
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