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[TIG] Re: legal video monitoring



On May 20, 21:27, bill topazio wrote:
} Subject: [TIG] legal video

> About 2 years ago, representatives from most major New York post 

This brings up two questions I'd like to ask other colorists and
engineers: what form of signal do you have up on the color monitor in
telecine session, component or encoded?

In my case, on commercials, it depends on where it's going next.  If
I'm recording to D2, and sending my material into a D2 edit session
where the editor and client will be editing and monitoring in
composite, then that's what I have on the monitor during transfer.  If
I'm recording to D1, and the material is going into Henry or Flame,
where it will be viewed in component, I generally monitor component
during the transfer, with occasional checks of the composite signal,
and the client is informed of this.

I used to believe that during a film-to-component transfer the clear
choice was component, because we didn't know what encoder was going to
be used in the ensuing encoding, but because (here in L.A., anyway)
the facilities seem to have 'standardized' the Accom encoder, I don't
have any trouble staying with encoded, if I decide that's best... and
sometimes, to be 'safe', that's what I monitor even during a job
that's going into Henry.

Another question I'd like to ask colorists: do you have your monitor
in underscan or overscan for telecine sessions?

In my case, again it depends: effects jobs going into Henry/Flame
are usually monitored in underscan, whereas 'staight ahead' commercial
jobs are monitored in overscan.  I prefer overscan on these sessions
because it gives the client more of a feel of the viewable area on a
home set, 'safe action area' notwithstanding.  I'm careful to note
that the monitor luminance is higher in underscan (Sony BVM1910).

--Rob



-- 
Rob Lingelbach          |  2660 Hollyridge Dr, L.A., CA  90068   213 464 6266  
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