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From the other side

Hello, I've subscribed to this list because I feel that the Telecine is
another tool, that I need to know about. The more I know, the better the
final images, the better the gratification from the job, etc. etc. etc.. Some
of the feelings expressed on this list worry me, especially as I am a young
D.P., without a great deal of pull and power, as my projects are still small,
and low budget.
	Sometimes when seeing the final image from something I've shot, I've
wondered what the Color Timer was thinking. I am talking about a print here,
but you can make the leap. I've seen night scenes pumped up, so that my nice
darknesses are all grey, even though I've got nice bright light sources in
the frame. Of course it does time out nicely, on the next print, because now
I've sat down with the Timer and said, no Darker.
	I wonder if during that first print, if the Timer is trying to "SAVE" me.
Trying to give me what he feels is a usable image, and figuring that I just
made a mistake because the image is too dark, while I spent lots of time and
energy knocking down all the light spilling on the set to get that Mood.
	I've read the postings here, and I must tell you, that the technology a
Telecine Colorists wields is amazing. I will not even pretend to think I
could do as fine a job, even if I had been working for twenty years as a
colorists, as do you all.
However, the Image is not yours. 
I remember many jobs when I was an A.C. where the D.P. would shoot the film,
at a far different exposure than the meter said. Because that's how he wanted
to affect the film. I knew that he was wrong, according to my meter, and the
Gaffers meter, and even the D.P.'s meter, but it was not my place to set the
Iris where I wanted it, or tell the lab to compensate in processing for what
I thought was a mistake in exposure. The Image belonged to the D.P. (okay
actually the Director, but you get the point). The gaffer may want to put up
a Back light, but if the D.P. says no, it is no. No matter what the Gaffer
thinks, and the Dolly grip may want to use a different move, but it is not
his choice.
I could go on, but that would be redundant. Granted this is a collaborative
medium, and it really is hard to work on something and feel you have no
input. However now that I'm shooting, I find that I must find something to
"love" about all the images I shoot. Whether or not they are beautiful, or
what I had in mind because the director now wants something else. My job is
to give the director, another point of view, another option. However, I don't
feel my point of view is "BETTER" than the directors. We are trying to tell a
story, even in a commercial.
 	 I've been in on some transfers, and usually had very good results, but
those are only from the ones I've been in on. Ones I've not been at have been
	In the end really it is every body's image, and when at transfers, I love to
see the colorists using every bell and whistle, and sometimes wonder why he
doesn't use the gadget some other guy used last month, and could tweak the
color a little bit more. But I'm not a colorists, I don't know the machines,
so I'm sure he is right. 
	It disturbs me that there seems to be this prevailing thought where some of
the  postings here are saying in effect, "hey these guys don't know anything,
I'm going to steer them my Way." 
	 Well at lest that is the feeling I  get from them. It is just something to
think about,  I suppose.
Thank you for reading this.
And thanks to everyone who offered their thoughts on that 24 f.p.s. to pal
transfer question, the info is much appreciated.
Steven Gladstone

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