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re: Color Space Police!

At 01:14 PM 5/22/97 EDT, Rich Torpey Wrote

>   So, the bottom line is - where do you want to be legal? RGB (any computer 
>platform - Flame, Mac, etc.) or Composite (Broadcast, etc.)? The best bet is 
>to determine your end user and work with their requirements.
  I agree wholeheartedly....  First, let me introduce myself so you know
where I'm coming from.  I am a post production editor responible for much
of CBS News' Prime Time programming, including 60 MINUTES, CBS Reports, and
many other shows on the network,  So of course I have to be part of the
"Color Space Police."  I don't normally think of it as a color space
though.  I'm responsible more for just over all levels staying LEGAL in the
NTSC world.  The last thing I want is a call from network transmission
telling me that affiliates are calling complaining about a program I've
   A big problem that we broadcast editors often have is animations coming
from facilities that live totally in the wonderful world of component, and
make these gorgeous colors that just aren't legal in my world.  When a
client brings in this animation and the first thing I have to do is pull
down the chroma becauce one red (or any other color) vector is way off the
scope, boy do they bitch.  Yes there are clips and such, but they just
don't do the job right.  So now I've pulled down the chroma for one extreme
color, and alot of the other colors become way to pale.  They are right and
I'm right, and  there isn't much we can do to fix it (Its hard to convince
a client to take his "million dollar animation" back to be redone).  What's
sad is that if the original editor/animator/compositor had just kept an eye
on the scopes for that one illegal level, everything else could be
wonderful.  And yes, I have seen oversaturated colors cause major problems
in the production/broadcast chain.
     I guess my point is, to all of us who make colors... it is imperitive
that we know our product's final destination, and that we have to make sure
our product will fit within in the specifications for that final
destination.  If you are doing something that will never hit a
broadcast/cable situation, then go for the gold, or whatever other color
you can make.  But if you are making stuff for broadcast, don't force those
who have to use your product to have to alter it to make it work in it's
final form.
      BTW, I normally don't have these problems with film to tape transers.
 You Telecine Jockeys, who are most often both techs and artists at the
same time, seem to have a great handle on whats legal and not legal and
stick within it.  Its graphics folks, who most often are artist first and
technicians second, who don't pay attention to these legalities.

M. Scott Cole

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