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I had a bit of a surprise yesterday.

I'd arranged to meet Paul Grace, to discuss some tests we're shooting,
before a regular TK session, S16 on an Ursa with Gary.

I met Paul in the C-Reality suite and found Gary there as well with my
rushes on the CR!

So, how does a DP feel about the CR? and how do I feel it compares with

First of all it confirmed my opinion that 2K is the way to go for a
transfer for normal TV, it's just so much smoother looking than a 625

Second it doesn't look like a Spirit, OK so should I be surprised, but it
doesn't. it looks like a very sharp, very smooth Cintel.

I was very impressed with the way we could pre correct the highlights,
whether this is a controller function or a CR function I didn't ask, I was
in "grade a shoot" mode not "test mode"

It had very smooth shadows, the material I was transferring was a car
launch for the Paris motor show, it had been shot on '45 on S16, I'd shot
it in the south of France with no fill, going for maximum contrast and
intending that the shadows would go solid and the highlights would burn.
To be honest I didn't think I'd have a choice :-)

We stuck with the look we'd discussed during shooting, the high contrast
and no green just blue sky, silver car and skintones, everything else
pulled back to almost mono, except for some very bright yellow flowers.

I'd made the choice for the look because of the need for both speed of
shooting and something that might catch your eye at a motor show.

CR could easily pull back highlights that I was sure were lost, it was
horrifyingly sharp, not edge corrected electronic sharp, just sharp. I can
promise you that anyone that says S16 isn't up to HDTV hasn't either been
honest in their testing or hasn't done a comparison with CR, or Spirit for
that matter.

In conclusion, it doesn't look like a Spirit, which I love, it looks like
a different very very good TK.

I now have the choice of looks at 2K, sorta like with lenses and film
stock, Cooke or Zeiss, Kodak or Fuji. All of them very good but they're
different. Up until now my TK of preference was Spirit, regardless of job,
now I'll look at the job and decide, that's where the producer will let me

A final note, as an owner of a 435 I started to get nervous at the quality
of the S16 pictures, was I going to have to reconsider and look at a 16mm
camera, well not for SFX work, a lot of what I do, and not for shoots that
are less controlled with light, like I need 800, but some shoots that have
a very high shooting ratio and are controlled I'll probably suggest that
we move to S16, I've just got to do the stock/CR hourly rate break even

I'll be back with more after we shoot tests specifically for this on 35
and test them on CR & Spirit.


Geoff Boyle

Personal website http://www.saccard.com
Cinematography mailing List http://www.cinematography.net

Thanks to Rich Torpey for support in 1998.
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