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Re: Flame/Inferno Coloring
- To: <telecine at alegria.com>
- Subject: Re: Flame/Inferno Coloring
- From: "Martin Euredjian" <martinfx at email.msn.com>
- Date: Fri, 27 Mar 1998 12:37:41 -0800
- Resent-Date: Fri, 27 Mar 1998 12:45:26 -0800
- Resent-From: telecine at alegria.com
- Resent-Message-ID: <"WmbfZ.A.zjF.j-AH1" at sun>
- Resent-Sender: telecine-request at alegria.com
- Resent-To: multiple recipients of <telecine at alegria.com>
>Martin started the thread by seeking others thoughts on the question of
>cc in Flame vs cc in TK. Here's how I see it....
>Color correction is available in Flame/Flint/Inferno as a tool,
>optimized for accurate blending of multilayer composites, blue/green
>spill suppression and general 'correction'.
If you need to, as you say, tweek things here and there to make things work
better in a composite I don't have a problem with the idea. If we are
talking about color-correction on it's own accord, I have to side with the
purists and say that a lot of work and attention to detail goes into
coloring a product as well as the design, construction and maintenance of a
proper coloring environment. I would compare coloring in a Flame/Inferno
bay to doing critical audio mixing in a telecine or editing suite: neither
environment has the tools, design or the right person in that chair.
The most obvious --and also very valid-- argument against the idea is the
existance of two completely different color monitors right in front of the
operator. As Rich Torpey mentioned, the artist is overwhelmingly
concentrated on the SGI monitor and very rarely looks at the broadcast
monitor. We all know the basic rule of room design: only ONE color
monitor. With FFFI this is impossible.
I would actually feel better about someone doing tablet-based color
correction on a Quantel box than an SGI box. They are working with and
always looking at a high-end broadcast monitor (assuming it's calibrated).
Thanks to Videotek for supporting the TIG in 1998..
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949 subscribers in 36 countries on Fri Mar 27 12:44:14 PST 1998
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