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Re: technicolor

> From: Mike <100745.1141 at compuserve.com>
> To: INTERNET:telecine at sun.alegria.com
> Subject: technicolor
> Date: 03 October 1997 16:00
> J-C,
> In a bad mood? au contraire! But is this the end of the story? What
> happened?
> Did you kick ass and whip up the original?

	Ok, here is the end of the story: this session fortunately was only a test
for a future project. So, as I was saying that the reference looked like
anything but technicolor, I color corrected a few scenes from "the
Wizard..." tape to tape to show that it was easy to get better and that
they could forget about their reference. Well, the funny thing is that what
they want is the same look as what is on the tape, not the real "Wizard
technicolor print look etc". Then I went to Mitch our specialist here who
explained it was very possible to make Kodak negatives from a technicolor
film. When such films are re-run in theaters, the copies we watch, come
from this kind of neg I suppose. 

> Also how do you actually get the technicolor look - is there a general
> trick of the trade?
	Chefs never give their best recipes, especially on the net :-)  I wish I
knew the secret, I must say two or three times I was quite close to the
look, one time, I was working on an internegative made of ektachrome (a
very strange recipe ), and it gave good results. Remember that it has also
a lot to do with the colors on the set, Mitch told me technicolor guys used
to tell directors which colors they could or could not use, and if they did
not agree, they found themselves with no camera anymore.

> A legal/political question; assuming a client wants you to do a transfer
> and grading this also assumes he has the permission to do so - then does
> matter what source of film is used?
	If the only thing you have is a neg, you could at least grade it as best
as you can knowing that your aim is the technicolor print look, and not
flat and ugly.
> Would it not be in everyones interest that  this transfer would be made
> good as possible?

	Of course, but I think some people don't know what they are doing. 

> Inversely - who says "stop right now, nobody is allowed to air this low
> quality". Who protects  what the photographer so tediously has created? 

	I started telecine in a lab in Paris, one day I was transfering "one
light" a movie that was going on air the next week, the colortiming was so
hectic that I decided to call someone I knew at the TV channel (without
telling my boss and that was not a good idea I must say). My friend agreed
to do the necessary grading and pay for it, he called my boss and faxed an
order, two minutes later I was told I was completely nuts, that we had 50
films to transfer for next week, and it was out of question to grade

	Jean-Clement Soret


         Thanks to Graham Collett for support of the TIG in 1997
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