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Telecine and the future????

        Please forgive if the following already exists. However
personally I think that what is needed is a different thought to
Telecine. A two or
perhaps three tiered approach.
The highest tier being the HI-DEF/2K/Data rate transfers ( I understand
that this tier is stratified, but for my purposes I group it all together.)
The next tier being Finishing Telecine's ( for jobs not requiring the
highest of the high where 601/NTSC/PAL is sufficient)
The lowest tier being a true DAILIES Telecine. Perhaps even something
akin to a Hazeltine with a Record deck. The idea behind this is to truly
make dailies, and not have to use an extremely expensive machine to do
one light "dailies" transfers. 
        It would need to be inexpensive ( relatively) so that a transfer
facility could feel secure in buying one, and it would need to be able
to interface with Timecode, Keycode, Keylink, Arri code Readers, Aaton's Indaw
Probably. But it shouldn't need or have All the other Goodies that the
other machines have.
        Perhaps this exists already, perhaps in the form of that "Machine
without all that stuff" that recently sparked such a debate. Or perhaps
it exists in the form of older/used Telecine's. In any case it should
exist, and here is why.
A Telecine, with all the bells and whistle's is very expensive, and when
needed All the bells and whistle's are a good thing, however on many
projects all that is needed is a "dailies" pass, then later a new
"Beauty" pass
transferred off of a cut Negative, or flash to flash selects roll.
Perhaps even an Online with the neg.?????? This idea I think really would
appeal to independents and small budget films more than the big majors.
A philosophical change in attitude, where you are again making a
workprint, cutting from the workprint and then Printing the neg., or
Re-Transfering Using the first Transfer as a starting point.
I can't afford $1200/hr for dailies, nor do I think a facility should
have to use a $1200/hr machine to transfer dailies at 15 cents or so a
foot. Either way it is overkill for dailies.
        Make me a video workprint that: I can judge focus ( better ) on,
and I don't have to worry if the transfer guy helped me out with my contrast
range. Just give me a print Gamma, no need to selectively adjust colors,
or crush black
levels. RGB ( or CYM) just as in a printer. 
        I'll still do music videos and commercials on the higher end ( higher
tiered machines), however all my low budget feature/ documentaries can
happily go on the "DAILIES" machine, Until comes time to finish, when I
can jump up to the more expensive machine for my finished program. The
key to this is for facilities not to have to Amortize such an expensive
machine to fill a niche, they would be more likely to buy a cheaper
machine that will
prevent them from taking a loss by operating a more expensive machine at
a lesser rate. At least that is my thinking. 
I think it will help people keep shooting projects on Film that might
otherwise go to video, Cheaper Dailies, With money to finish the final
project on a higher end machine. Any one else think this makes sense? 

Steven Gladstone ( active member of the Film Resistance)
Brooklyn Based, Cinematographer

Thanks to Cliff Laidlaw for support in 1999
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