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Re: Real Time Steady Gate
- To: rob at alegria.com, telecine internet group <telecine at alegria.com>
- Subject: Re: Real Time Steady Gate
- From: DCFWTX at aol.com
- Date: Thu, 22 Oct 1998 11:20:37 EDT
- Resent-Date: Thu, 22 Oct 1998 10:22:21 -0500
- Resent-From: telecine at alegria.com
- Resent-Message-ID: <"3SyPmD.A.qeB.-10L2" at sun>
- Resent-Sender: SmartList account <slist at alegria.com>
- Resent-To: multiple recipients of <telecine at alegria.com>
In a message dated 98-10-22 11:00:20 EDT, you write:
<< Assuming the camera is as
close to perfect as possible, the accuracy of the telecine's pin
registration will determine the quality of the composite, unless and
until the compositor intercedes with steadying of his/her own.
Rob and Steve McWilliams,
As an editor/compositor, what advise do you and others give regarding what to
tell clients about to shoot layered material in so much as to what kind of
camera has the best steadiness control ? I am referring to your comment above
"...assuming the camera is close to perfect as possible...". What camera is
the choice these days ?
I sometimes get frantic phone calls from clients with shoot days upon them
with these type questions. It would be comforting to know what camera to use
and what direction to go in the transfer i.e. steadigate (as you answered
before) . Are there specific camera choices that mandate a specific telecine
steady gate procedure ?
Thanks to Glenn Eason of Hillcrest Engineering for support in 1998.
No product marketing allowed on the main TIG. Contact rob at alegria.com
1016 subscribers in 39 countries on Thu Oct 22 10:21:29 CDT 1998
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