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Re: Re: Re: Which System?



With reference to John W Seberg and his question;

>>I have been asked to poll the Colorist Forum regarding the best color
>>correction system available today.  I would appreciate your suggestions
>>and comments.

And with reference to the reply from Jude Ng at  Videopost in Manila;

>>Tricky question there, John..  Only colorists who actually handled all 
>>the systems available would best answer the question.  Maybe the 
>>question could be:what would you look for in a color correction system 
>>and if the system you're currently using fills up those requirements? 

This reply would seem to be a more positive approach to what is a very 
contentious subject. Most of us have a preference for the system that we
use and base our opinions of rival systems on hearsay or rumour.

Having had the opportunity to demo the Pogle "Platinum" with DCP & ESR
at NAB and recently at Broadcast Asia, I was very impressed by the way 
professional Colorists could recognize the inherent benefits of the system
which, as Jude Ng will be glad to hear, fulfills items 1 thru 6 on his list.

The installation of a digital color processor is as much a response to Client
awareness as it is to the Colorists preference and we are all vulnerable to the
Clients sometimes incomplete grasp of the technology although when they 
see six areas of softly edged, full variable selected and dynamic, color
correction happening on the monitor they do sit up, take notice, and leave the
suite very impressed.

A system such as this has in many ways gone beyond color correction and,
although it still remains simple to capture the DP's intended look from the 
negative, it has become a powerful creative tool for the Director and DP to 
manipulate images by introducing effective light sources into a scene in a
real time environment.

>From an operational point of view the new system retains the highly regarded
simple graphical layout of the Pogle and enhances it with the intergration of
captured images from the film, or tape, source. The ease of  "reach & touch"
for control parameters is also maintained.

Working with the  "Film Cache" on the Platinum will allow  the whole telecine
session to proceed in a more logical fashion which will appeal not only to the
Creatives but also to the Producers amongst our Clients.

As to Jude Ng's last point (7), no, not even ESR can make the coffee, but if it
did you would get more options than just black or white.!!!

Regards
Seamus O'Kane 
VTR London.