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Ursa vs. Quadra


The key part of your mail message is the phrase "our clients prefer one
over the other". Telecine, I am afraid, is to a certain degree a business
of fashion, and clients do have preferences, which may or may not have any
basis in technical fact, but which will decide where they spend their
money. If they insist on one machine, no amount of effort on your part will
convince them that a different telecine can achieve the same results. So
make sure you ask them before you decide!

To answer your specific point, if you polled the colorists on the group I
would guess you would get a significant majority voting for the URSA rather
than the Quadra. There are lots of reasons for that, not the least that
Cintel's telecines have been market leaders for longer than anyone reading
this has been involved in telecine, and that familiarity is very
comfortable. There is also a sound technical reason, in that the sort of
facilities you nowadays expect to see in the telecine suite - rotations,
zooms, picture manipulation - is handled much more easily on a flying spot
machine rather than a line array telecine.

There would be a much closer vote if you asked for preferences between URSA
and Spirit, the latest machine from Philips. For standard definition
television work, though, there is very little difference indeed between the
two machines technically, although my first point about fashion comes into
play very strongly here.

But, as I often say, I am a writer not a colorist, and what do I know.


Dick Hobbs

thanks to Allan Taylor for support of the TIG in 1997
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