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RE: Production design for B&W to color spot.
- To: Pete Jannotta <pj at skyview.com>, multiple recipients of <telecine at alegria.com>
- Subject: RE: Production design for B&W to color spot.
- From: rob at alegria.com (Rob Lingelbach)
- Date: Fri, 17 Apr 1998 12:17:28 -0700
- In-Reply-To: Pete Jannotta <pj at skyview.com> "RE: Production design for B&W to color spot." (Apr 18, 12:30)
- Organization: Altruistic Intentions, Hollywood, CA
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- Reply-To: Rob Lingelbach <rob at alegria.com>
- Resent-Date: Fri, 17 Apr 1998 12:18:28 -0700
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On Apr 18, 12:30, Pete Jannotta wrote:
} Subject: RE: Production design for B&W to color spot.
> Why add the hassle of having to
> find a lab that processes b/w? Why suggest that our clients bring us a
> stock that we have to do tricks with to keep from making their
> images dirty
I guess it all depends on the project.
On a Volvo commercial and two Union Bank commercials, we tested color
negative and b&w negative of the same scenes, then tested timed and
locon prints of the same scenes from the negatives. From the
beginning, there was no doubt that the final images would be in black
I used gamma curves, all kinds of black stretch, and kscope, to try to
get the image from the negative where we wanted it... though the b&w
negative came close to what we were looking for, the b&w locon print
(print from b&w negative) was by far the winner of this contest. It's
difficult to describe the look we were after, except with terms like
"body" and "silver" and "edge". Color negative was furthest from
what we were looking for, and I wasn't able to reproduce from it the
image quality we eventually got from the b&w print.
At risk of sounding like a purist, I'm generally a proponent of doing
as much as can be done in camera to further the achievement of a
particular result, as this can bring more integrity to the image.
Senior Colorist, Pacific Ocean Post
Santa Monica, CA
Rob Lingelbach | 2660 Hollyridge Dr., Los Angeles, CA 90068
rob at alegria.com |"I care not much for a man's religion whose dog or
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