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Re: From Green To Blue Cars

Further to Jim Manns excellent explanation, I would like to add that I have
had some success in these situations by suggesting the DP use colored
reflectors on the shoot. Either green or blue to sway the color one way or
the other (depending on the rest of the set and the percieved original
color) This helps to register a more uniform color on film, and makes for
cleaner secondary selection in telecine. 
Further re the Blue-green tv system problem (NTSC and PAL actually) because
of the make up of the color it is possible to have high chroma with low
luminance OR high luminance with low chroma, bright and colorful just
doesnt go. I often use the secondary lum/contrast controls to controls
saturation as a result.

(Sorry Ken reflectors wont do much to a pool table, but gels might )

Kevin Shaw     (Consultant, Colorist and Instructor)
Kanvas Film and Video 
Email         :   kevs at online.rednet.co.uk

-------------------- Begin Original Message --------------------

Message text written by INTERNET:telecine at alegria.com

">         Does anyone out there ever experienced a Malachite Green (or a
> Green) car that was shot and when it got to the telecine the color of the
> car came out Blue?  

-------------------- End Original Message --------------------

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