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RE: Production design for B&W to color spot.
- To: multiple recipients of <telecine at alegria.com>
- Subject: RE: Production design for B&W to color spot.
- From: Case Dominic <Dominic_Case at atlab.com.au>
- Date: Fri, 17 Apr 1998 15:45:33 +1000
- Resent-Date: Thu, 16 Apr 1998 23:45:28 -0700
- Resent-From: telecine at alegria.com
- Resent-Message-ID: <"fcAB1B.A.QuC.gpvN1" at sun>
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- Resent-To: multiple recipients of <telecine at alegria.com>
>>The image is made in totally different ways, with the colour neg you're
looking at the dyes left behind after the silver has been removed, with
mono neg you're looking at the silver.<<
Yes of course. But the telecine isn't bewitched by the lure of the
precious metal, all it sees is three values: red, green, and blue.
There is an issue of the higher specular density of the silver image: I
wonder if that's it. (And of course even looking at the diffuse density,
b/w negs have a higher gamma than colour negs.)
But I still contend that design and lighting can do more to make or
destroy a good monochrome image than the choice of stock - HP 5
notwithstanding. Check the original "subject" tag for this thread.
Thanks to Howie Burch/Nice Shoes for supporting the TIG in 1998..
No product marketing allowed on the main TIG. Contact rob at alegria.com
962 subscribers in 36 countries on Thu Apr 16 23:44:43 PDT 1998
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