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- To: "telecine group" <telecine at alegria.com>
- Subject: Flame/Inferno Coloring
- From: "Martin Euredjian" <martinfx at email.msn.com>
- Date: Mon, 23 Mar 1998 10:33:03 -0800
- Resent-Date: Mon, 23 Mar 1998 10:40:05 -0800
- Resent-From: telecine at alegria.com
- Resent-Message-ID: <"nq08DC.A.wOC.PxqF1" at sun>
- Resent-Sender: telecine-request at alegria.com
- Resent-To: multiple recipients of <telecine at alegria.com>
With the increasing capabilities of these systems the perception among some
is that tasks such as color-correction are just as "at home" in these suites
as a purpose-built room with dedicated gear.
You and I understand that the process of color correction is very much
real-time due to the characteristics of the human vision system and the
client->colorist->monitor->client feedback loop (if "go warmer" is not
followed by a relatively immediate change on the monitor we have a problem).
Other requirements are purpose-built rooms with the correct lighting and
monitoring for critical color discrimination; the use of a calibrated
picture monitor instead of a computer monitor, etc.
I keep hearing comments from Flame/Inferno operators about how "we had to
color-correct every shot we got from telecine" and "I can do everything
they do, I don't know why we even bother..."
My concern is that client perception is king and if the clients start
believing some of this stuff... This is going to become particularly more
of an issue (in my humble opinion) with the introduction of more
functionality in "our" color correctors. EdWin is a good example: do you
track and color a shape in telecine or do you take it to Flame/Inferno?
I'd like to hear what others might have to say on this subject.
Thanks to Peter Stansfield for supporting the TIG in 1998..
No product marketing allowed on the main TIG. Contact rob at alegria.com
955 subscribers in 36 countries on Mon Mar 23 10:39:05 PST 1998
complete information on the TIG website http://www.alegria.com/tig3/