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Telecine and the future????

  Steven Gladstone wrote:

>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.

Well, hopefully this is exactly what the TIG is for, and extending dialogue
with our CML colleagues.  When I start a project, I'm thrilled to hear this
definite a requirement... tell me where you would like the printer lights
(would the Kodak TEC reference be okay? -- or would you like them
forward-compensated for TAF performance? --disclaimer-- I do not work for
Eastman, and I don't know what the tm usage caveats are) and lets go!  I've
done this many times for pure feature film finish -- and the DoP and I are
on the phone every day.  The same for series projects that require best
light.  It cannot be a well-disguised secret that constant, open
communication is the key ingredient to translate script to print.

 >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.

Yes, some of the non-linear edit-suite-in-a-box offerings include "colour
correction"...  sort of....   if they manage to get remotely close to what
we consider routine, for desktop -- and, if the user interface is anywhere
near the speed and ergonomic that it is now, and, the render time is under,
say, several days, and AVR75 is deemed acceptable, and etc., etc., I will
feel seventeen again.

 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.

Now the transfer conditions have changed.  Either you are referring to a
select re-transfer, or a correction of transferred material, eg. tape to
tape.  In the event of the re-transfer, the latitude of the original
negative is available, and even some formerly out-of-bounds material could
be revived... but correcting a brute one-light is a different matter.  Would
a finishing house attempt to make a release print out of workprint elements?
In video finish, I guess we do it all the time...
(can get pretty ugly with video originated material - clipped and crushed in
camera -- and I don't even want to hear about that "look" process that has
caused all the excitement on that other list).

Telecine is more than colour correction -- it is colour "perfection".
It is one of the more interesting things I have encountered -- everyone I
know who is engaged in it is only interested in improvement -- whether its
the picture or the technology.  Lets talk... its where the penny drops.  If
the technology comes around to where I can do this from home -- dialing it
in over the Firewire or whatever, well, I don't think there will be many
Home film scanners, but , hey, I'm in...

Joe Owens
Studio Post

Thanks to Cinesite for support in 1999
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