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Re: TI/DLP projector screening at Burbank AMC14

>> >I did observe the dark, clipped
>> >black scenes, especially the one on the porch at night.
>> Interestingly, I had the identical experience with that scene at the other
>> theater (Pacific's Winnetka) using the other projector, so its origin must
>> be further back the chain.
>Shhhh.. don't tell anyone, but I was told that scene of Qui-Gon taking blood
>sample from Anakin was one of the few (2?) scenes shot originally with
>digital camera NOT on film. "Yousa say some people gonna re-think shooting
If what you were told is correct, then the part that needs rethinking is
not digital acquisition. 

I find it interesting that producers and directors who, in their wildest
fantasies, would never consider allowing a DP with no previous experience
to sit down by themselves at a DaVInci and color correct their film, have
no problem letting the same person diddle the hell out of a digital camera
while watching a rented nine inch field monitor that just fell out of the
grip truck and hasn't had the greyscale tracking checked in three months.
Then they look at the results in post and proclaim that this digital
acquisition stuff sure does have a long ways to go.

Imagine if the DPs y'all now do color correction for somehow had magical
access to a full blown color corrector on set, and were able to extensively
modify the neg (before you ever saw it) while watching the results on a
Moviola with a dimmable 60 watt refrigerator bulb in it, with no way to
ever go back. That's pretty much what's happening with much of the single
camera film-style digital acquisition being done today.

If we want to carefully evaluate the capabilities of digital acquisition,
what needs to be seriously looked at is the folly of allowing completely
inexperienced people with uncalibrated monitors to have access to the
hundreds of adjustments available on high-end digital cameras. 

That presupposes, of course, that the people doing the evaluating really do
want to carefully evaluate the capabilities of digital acquisition.

Damn. It's Friday afternoon and I'm ranting again.


Bob Kertesz
BlueScreen LLC

The Ultimate in ULTIMATTE® compositing.  
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Thanks to Rich Torpey for support in 1999
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