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Re: Telecine and the future????
Robert Lovejoy wrote:
> Once a facility has made a commitment to a top-tier machine, it becomes
> a part of the facility and any use at all is good use. We have found that
> many DP's appreciate the quality of our dailies work, and the best news is
> that they can come right back to us for the full tweak.
Robert and all:
I forgot my disclaimers. I am not a Colorist, Nor do I work for any
Telecine houses. In essence you are all potentially MY clients. I do not
know how a Post/transfer house operates economically. However I was
pretty much sure that it was as you expressed. Future proofing
purchases, and all. The same applies toward camera gear, so I am
familiar with the concept. However Even if it means I get nothing for my
camera package it is going to sit idle, rather than me operate it at a
loss. Well that's the idea anyway ( Discounts and special rates always
happen). I understand about the might as well use it concept.
However let me clarify. If I am shooting a feature or other project
that will be finishing on film ( or Video) and will be making a print,
or Retransferring from a cut neg for the finished product. THEN I WANT A
FILM PRINT. I want to see what I am doing and how I am exposing, how the
lab is developing and the focus puller is doing. Nowadays I don't get
FILM dailies, I get video dailies.
Well for my purposes they are insufficient and misleading. Simply
because there is the attempt to make them look so good. I need to know
what I am getting on the NEG, not what can be done in the transfer.
Especially for a film finish.
AS I said, A "DAILIES " only machine. We have all heard about how the
video dailies can mislead you, I need that not to happen. I've seen soft
shots on video dailies, that are fine and acceptable when projected, and
vice versa. Even seen editing decisions improperly influenced from
transfers that are too light so that the editor cuts badly thinking
there is something visible when there isn't on the print, so we end up
with five seconds of black that was a pan in the cut dailies.
Don't save me, don't help me. Give me a true one light and don't mess
with the gamma curves, or crushing the blacks or saving the highlights.
Granted this isn't so much about a colorist doing his job, but it is
about what I as a Cinematographer need from a dailies machine.
Believe me, I love the possibilities that can be explored in the
transfer. Selective color control, contrast control, isolating, and
adjusting just a portion of the frame. I work with directors who shoot
video, projects, one supervised transfer session and they never use
However for dailies, I need a simple dailies machine. It also needs to
be cheap. Because if no one here has noticed, doc's are all going Video,
and features will too, and soon everyone will be shooting and finishing
and color correcting on their computers at home ( albeit poorly, and
with little skill), and Colorists will all be out of a job. Even the Big
tape to tape jobs will be done by some seventeen year old who used to
collect popcorn and project movies way back when they had multi-plexes.
So it has to be cheap, cheap so that it can make dailies at pennies a
foot, and the facility can do it without tying up a million dollar
machine, and still make a profit on the dailies. Otherwise that's it for
Sure I understand, why spend anything on a limited system, when a more
expensive system can fill both needs, well I don't carry my lighting
package in a Porsche, I use a beat up but reliable truck.
Film has to become cheaper, all the way through the process. A sharp
crisp Dailies transfer that doesn't hide from me what I'm getting is one
one way I think it can be done. Why spend the time and the rate on takes
I will never use, just because I am transferring the rest of the lab
flat. Transfer it all fast, sharp, un-adjusted, and then after the piece
is edited, let's go spend our time color correcting the finished piece,
where we can concentrate our ( Colorist, and D.P.) efforts and time on
only what is being used.
Steven Gladstone ( No one is paying me to write this)
Brooklyn Based, Cinematographer
Thanks to Cinesite for support in 1999
No advertising/marketing allowed on the main TIG. Contact rob at alegria.com
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