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Re: RE>RE: Green light
- To: "Telecine" <Telecine at xyzoom.alegria.com>
- Subject: Re: RE>RE: Green light
- From: "Martin Euredjian" <martinfx at email.msn.com>
- Date: Tue, 24 Mar 1998 10:43:20 -0800
- Resent-Date: Tue, 24 Mar 1998 11:52:55 -0800
- Resent-From: telecine at alegria.com
- Resent-Message-ID: <"Q9TK1C.A.mTG.t7AG1" at sun>
- Resent-Sender: telecine-request at alegria.com
- Resent-To: multiple recipients of <telecine at alegria.com>
> Film work is even more demanding in quality and any
> must offer a wide band response to faithfully capture all the data we need
> along with other increased technical demands.
Funny you should say that (and this might be a little off topic but I'll
barge in anyhow). I worked for a place called VIFX for a while. Standard
procedure there was to take a Cineon 4K scan, throw away the 400 pixels
outside of the Academy area and then take every other pixel on a line and
throw them away. This left some 1800 pixels horizontally.
The main reason for doing this was that the 4K data was way too much to be
handled efficiently in a production environment with Inferno and other
tools. Considering how many films they would work on at one time this sort
of thing had to be done. The 1800 pixels were considered more than adequate
for a good image during theatrical projection.
Of course, the "more demanding" part in your statement does apply to the
colorimetry part of the scan.
Thanks to Peter Stansfield for supporting the TIG in 1998..
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945 subscribers in 36 countries on Tue Mar 24 11:52:09 PST 1998
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