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>To JPB, Good points!
>Please note responses below
>> JPB <aaton at alpes-net.fr> wrote-->
>> "During a film-to-tape transfer, the main tool used to ensure the
>> correct color is the video monitor. But it is well known that most
>> professional edit and transfer suites have only one color monitor
Dave, you quote me on something I never said: I was mentioning to your
group the Yuri Newman's IW in the Am. Cine, as I thought the words were
worth to be known by the colorist community. It is true they reflect the
bad vibes some film people feel entering a telecine room.
I personnaly think color charts on one side, and TAFs on the other, are
items not to be used on a day to day basis, it's more of a telecine
maintenance technician concern to use these pharmaceutical products to
adjust his primary and secondary CCs with.
Color "translation" from film to tape is and will remain a colorist
know-how. I wrote "chrominists" as a joke about your supposed
attachement to vertoscopes and chrominance levels. Have you ever read a
computer made translation of a poem ? Chromasters would better describe
As you know Aaton began in the film industry some 25 years ago by making
Super16 & 35mm cameras of the light and mobile sort. We were thus
exposed to the hectic-situation fimmakers from day one... and still we
are! For these clients, charts of any sort are not well received for
sure, but on the other hand - as most of you pointed out - they are less
and less careful about exposure correctness and too often blame the
Here enters Kodak and his TTEF master judge.
It's a way to push the 'Colors of the VIDEO' responsibility where it
belongs - the colorist - and the FILM exposure density correctness where
it comes from - the DP.
With TTEF we are talking about grays all over the chain: grays on the
three patches of the calibration film, grays with no blacks, no whites,
plain gray on a piece of cardboard. As it is easy to fabricate a
NON-SPECULAR gray disposable card (not chart), this will not prevent the
most hectic-filmmaker to buy many and show them to his lenses.
The beauty is that not only the DPs know where they are on the density
scale - like in the good old days - but they will get TPs (Transfer
Points) quite near the PPs (Printer Points) film labs are working with.
Some preliminary experimentions shown constant offsets between telecine
TPs and printer PPs. It will become in the Video Facility/Film Lab
interest to communicate each other their relative values.
At Aaton we loved the Kodak TTEF idea - peace at last - and we put the
Keylink digital channel to work both our way (a software plug-in), and
the Rank way too (a metering box on the PMTs output).
We will not call this item a Chromaster, NO no.
J-Pierre Beauviala aaton at alpes-net.fr
2 rue de la Paix BP104, 38001 Grenoble France
tel +33 7642 6409 fax +33 7651 3491