[Date Prev][Date Next][Thread Prev][Thread Next][Date Index][Thread Index]

Re: The Yuri Thread



I have just returned from holiday and consequently I have taken 
the Yuri Neyman related thread in one hit and, although I have not 
read the article in question, I have gleaned much from your
correspondence.

The article would seem to prompt a different response from the 
USA than it would in the UK as our film production industry is so small
in comparism that, despite a healthy precense of drama, documentaries
and features most of Soho's work is based in commercials where the
criterior for judging dailies and our post production methodology are very
different.

The similarity of problems though is striking. You have all pointed
out the lack of communication between the shoot and the post house,
the fixation with hourly rates regardless of the investment you have
made in technology or talent, and the basic unwillingness of  "film"
people to understand the principals of our systems and the reasons
behind them.

The comments made regarding the effort put into dailies transfers
would also apply here, there are not many companies where the
term " one light " has any real meaning. It is true that it may be a 
"junior" at the controls but that is all part of the training process and 
often the "junior" will fuss and worry over things that even a DP 
wouldn't notice.

Everyone has pointed out the technical differences between
Final Print and Final Video and the reasons why our suites contain
such an array of equipment. That the sensitive and skilled use of this
processing will complement and enhance the Directors vision,
the DP's skill and the audiences appreciation seems to escape some
people who prefer to see it as an obstruction. 

Any aid that the colorist can be provided with is to be welcomed but to
suggest that the Grey Slates should be the determining factor in any
transfer situation is wrong. It makes as much sense as saying that
the DP should expose and light flat so as the colorist can recreate
the total look.
 
At NAB we will see some interesting developments in telecine and
colour correction which will have important implications for everyone
involved in our profession. Most Directors,for example, would wish to
have the accuracy of the telecine suite for their theatrical release prints 
and the possibilities now exist to have "real time" colour corrected data 
scanned back to 35mm film.  

The problems and conflicts raised by Yuri's comments are interesting
for many reasons, but I think that the level of considered response
that they have evoked has, if nothing else, proved how valuable to
our profession this Forum has become.

Seamus O'Kane
VTR London