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Re: Flame/Inferno Coloring

Martin Euredjian wrote:

> 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..."


I believe the answer does not lie in finding who can do the better job of
color grading an image, but in realizing when it becomes the most appropriate
to make color correction adjustments.

I have never bypassed or minimized the importance of telecine correction for
various reasons. I trust and rely on experienced and talented professional
that possess valuable  knowledge, anytime my projects require such

Working with a colorist is an essential part of our approach. However,
compositing artists and visual effects supervisors must be familiar with the
process of color correction whether in telecine or in high end workstation
environment. I will admit that there is not one project that involves any kind
of visual effect treatment that I haven't color corrected in one of our
Discreet Logic products. Doing so does not eliminate the need for a good
colorist, it only emphasize the necessity for visual effects professionals to
be familiar with color correction techniques.

The secret behind successful multilayer compositing is about attention to
details. Blending elements of a composite into an specific environment will
almost always require color correction adjustments. These adjustments need to
be made interactively and the workstation where the compositing takes place,
undoubtedly provides the best results.

regards to all.

Michel Suissa
Director of visual effects
Tape House Digital
305 east 46th street, New York NY 10024
msthd  at idt.net
michel at tapehouse.com

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