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>In commercials, there is certainly more t-to-t happening than ever
>before, from my perspective.  D1 to D1 or D2, mostly.  A lot of these
>are director's reels, where a D1 was recorded during the initial
>dailies sessions, and the director "splits off" his version of the
>spot from the agency final.
>
>But because your initial transfer may have some clipped signals that
>are impossible to recover, and because the telecine does (by far) the
>best blow-ups and repo's, the great majority of final
>color-corrections (for television commercials, anyway) are done as
>film-to-tape sessions.
>
>--Rob

Oh, c'mon, Rob. Clipped signals and blowups are certainly not the only
limitations in "conventional" tape to tape! Once a signal has been color
corrected in any way, even if the signal is recorded component, it has been
altered from the colorimetry of the original. If you try to balance for
flesh tones, there is simply no assurance that the rest of the colors in
the scene are going to become any reasonable facsimile of the original
pallette, i.e., the ones you'd have if you balanced for flesh tones with
the original negative still hanging on the telecine. We all use far too
much secondary correction during conventional tape to tape to account for
this problem, the result being wishy washy colors and far less separation
and depth. That's why so much episodic TV looks like Matlock and Melrose
Place (love those white and orange faces -- YUKK!!). In commercial land,
you just give the 15 people in the room whatever they want. But in
episodic, you're expected to deliver a good picture, one that's
representative of the photography. Conventional tape to tape (even on D1 or
DCT or DBetacam) is simply an inferior way of doing this.

Regards,
Mike

Michael D. Most           |            Encore Video
mmost at cerf.net            |            Hollywood, CA.

Subj:	Re: Rank Resolution
Date:	95-03-24 03:19:44 EST
From:	telecine at xyzoom.alegria.com
To:	73132.106 at compuserve.com
To:	telecine at xyzoom.alegria.com