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Re: "compressed" grade
Rather than putting a physical filter in my telecine now I use a vision
mixer/switcher to soften the pictures after all correction. This means
that I can use it equally for tape to tape as well as film. I can also
vary the filter over any range without running backwards and forwards
from the telecine itself PLUS, as light levels don't change I don't have
to touch the correction!
The other thing I want to comment on for me at least, is that I would
always do NR/GR exiting the telecine on the way to the Technical light
tape. This is because RSQ is object orientated and it is easier to grab
the areas if they are smooth and sharp. Meaning as little grain/noise
as possible on the tape. I NEVER double NR unless someone is after an
I don't know about anyone else, but the only use I would have for colour
filters would be to try and iron out problems in the neg.... Which in
my experience if you have to do that you are on a looser anyway! The
colour correctors really can do better than any optical filter,
Manufacturers, how are Festa's textures coming on?
And BTW, thanks to the North for sending heat down, we are upto 20
Ken (it was chilly in Chile) Robinson.
JSnopes at aol.com wrote:
> >The one thing that I forgot to add is that I put my filtration (black
> >super mist etc) after colour correcting the Digital format..... Its
> >wonderful, not only can I hide mistakes ;-) it also smoothes out any
> >grain that has turned into noise!
> Not sure I understand -- you are doing a "flat" telecine transfer and
> then adding "filters" in the tape-to-tape stage? Are these the Tiffen
> "digital" filters (which I thought were just for the Cineon) or
> different, or did I just completely misunderstand what you wrote?
> John Snopes
Av.Cristobal Colon 4733
Santiago de Chile
Phone +56 2 207 9515
Fax +56 2 228 5871
186,000 miles per second. Not just a good idea..... It's the LAW!
+++ thanks to Rich Torpey of MTI/Image Group for support in 1997
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