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Old Days(Good??)

Hi, Haven't said much in awhile but I must congratulate Joe Bond. How many
of us ever get to leave the post production business ALIVE. I'll hoist one
in your honor Joe.
Where is Sam Holz? He could tell us a great deal about the first Scene By
Scene color correcter that I ever worked on at Editel Chicago in the early
The Holz correcter was a console with something like ten individual panels
of twelve clock pots each. On each panel you could adjust RGB in Gain Gamma
and Black. I believe there was also a master gain gamma and black. Each
individual panel would be triggered by a sensor in the projector that read
foil tabs placed very accurately :.)  on the edge of the film by your
assistant. As panel was triggered, it would illuminate slightly in the
console to indicate that it was active. Although our console may have had
ten sets of clock pots in it I think only five of them actually worked at
any given time.
Our film scanner at that time consisted of a Kodak 16mm projector, a Singer
GPL 35mm projector (just like in the movies) and a Kodak Drum slide
projector all pointed at an Eastman Multiplexer, (box o' mirrors) which
directed the selected projector's image to the Norelco PC-60 Camera. Oh
Boy, I thought they only made shavers. Was that the predecessor of the
Rich Garibaldi,a master in vector bending now of 4MC was my teacher at the
time as was a great telecine engineer named Don Cox.
Think about a film transport that you wouldn't run in reverse for fear of
destroying some one's pristeen answer print. Every time you wanted to see
your corrections run another time the print had to be unthreaded,rewound on
the table and re threaded. There wasn't a soul who would even think of
handing a negative over to some guy at a "tape house."
Editel Chicago didn't stop with the Holz Correcter. We were early users of
Dubner,and the forunner of DaVinci,The"Wiz" built by Craig Fearing then of
We bought into the prototype DaVinci when Dubner ruled at the New York and
Los Angeles offices of Editel. New York and Los Angeles Colorists did not
take well to DaVinci when I went out to visit them to encourage them to use
it. You would be surprised to know who one of the big DaVinci nay sayers
was. My secret.
Good Old Days?? We've never had it better than now.  Enjoy Life, Pete Jannotta

thanks to Aine Marsland and Pandora International for support in 1999
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