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Re: Telecine and the future????
- To: "telecine internet group" <telecine at alegria.com>
- Subject: Re: Telecine and the future????
- From: "Christopher Bacon" <KA2IQB at worldnet.att.net>
- Date: Fri, 18 Jun 1999 12:07:19 -0400
- Resent-Date: Fri, 18 Jun 1999 11:21:35 -0500
- Resent-From: telecine at alegria.com
- Resent-Message-ID: <"0CFKg.A.83C.KIna3" at sun>
- Resent-Sender: telecine-request at alegria.com
- Resent-To: multiple recipients of <telecine at alegria.com>
>So what happens is that even if the colorist and DP communicate, and the
>colorist busts his/her buns to turn out the product looking as good as a
>one light can get, it usually looks like crap during lunch on the set the
>next day, because the hardware being used to show it is junk.
While it is true that the video monitoring equipment on the typical
production set is usually trash, there is far more to dalies than just
seeing if the film got exposed the previous day. In the world of
independent productions, dalies tapes become "video workprints" for Avid or
Lightworks stations. They are also often screened under much better
conditions than prevail on a set when producers want to show investors that
they've got a project that's worth financing. Under such circumstances, the
quality of dalies tapes can make or break productions.
Over the past several years, a number of inexpensive (compared to a
full-blown telecine suite) "dailies-only" telecines have been shown at NAB
and other trade shows. "Dixi" was one of them; I forget the names of the
others. They have not displaced regular telecine suites because most
dailies customers expect reasonably high quality video with at least some
color correction, good audio sync, and accurate Flexfiles or the equivalent.
Thanks to Cinesite for support in 1999
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