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Re: Transfer Questions
J P Owens wrote:
> An ancillary question: how critical would it be to most shooters to be
> a shade out of rack with respect to the various test films that transferists
> can use to set up the "pan" basemems that we start with.
It's always a good idea to have the pan basemems set up to a known
standard. If the DP needs critical centering, I always suggest they
shoot a few feet of a centering chart, or at least a "plus" sign. Once
I set up to that, I'm certain for that job at least, I'm seeing what the
DP framed, even if his ground glass is a mite off.
Generally most clients are not extremely critical of pan tolerances
except if it impacts a shot. We're always getting asked to fudge the
framing a little to correct headroom or little framing problems here and
there. For unsupervised transfers, though, I'd keep it framed to
academy unless the DP has provided a centering target.
So as to whether it's important to be dead "on" a reference setup:
it's always a great place to start but is always subject to modification
by the client. It's not a good idea to get Creative and recompose the
image for the DP (unless he's sitting next to you!), but generally if
you are a fraction off perfection it doesn't get noticed (both the
camera and telecine).
The centering of optical tracks is pretty critical, and can make a
big difference in sound quality.
Ultimately, you should always keep your telecine in perfect
alignment; it just makes sense. Test films abound, treasure them.
Weekly and monthly checks should be standard operating procedure.
Should someone detect a framing problem after the job's been cut it's
always good to know it didn't happen on your watch. But if in your
judgement the framing you see is incorrect, communicate with the DP or
director before changing it.
Not sure if I answered your question. I hope this helped, it's
just one person's take on the topic.
Shooters Post & Transfer
Thanks to Ken Robinson for support in 1999
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